Professional Documents
Culture Documents
2013
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THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
By
TIMOTHY D. WIGGINS
Degree Awarded:
Summer Semester, 2013
Timothy D. Wiggins defended this dissertation on May 16, 2013.
The members of the supervisory committee were:
Richard Clary
Professor Directing Dissertation
Alexander Jimenez
University Representative
Patrick Dunnigan
Committee Member
Clifford Madsen
Committee Member
The graduate School has verified and approved the above-named committee members, and
certifies that the dissertation has been approved in accordance with university reuirements.
ii
To Christine, my beautiful wife,
I could not have done this without you.
I love you more every day.
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ACKNOWLEDGEMENTS
This project would not have been possible without the help of many people. I would like
to thank Professor Richard Clary for his guidance, as well as the rest of my committee members:
Dr. Patrick Dunnigan, Dr. Alex Jimenez, and Dr. Clifford Madsen. Additionally, thank you Dr.
Steve Kelly and Dr. Andre Thomas for your consultation and guidance.
Above all, to my beautiful wife, Christine, to whom I am forever in debt as she gave up a
life and job to follow and support me in this journey, working to support us, and giving us two
beautiful daughters.
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TABLE OF CONTENTS
Abstract ........................................................................................................................................... x
1. INTRODUCTION ...................................................................................................................... 1
Limits of Study ................................................................................................................... 2
Definitions........................................................................................................................... 3
3. METHOD ................................................................................................................................. 24
Source Materials: Repertoire of Serious Artistic Merit .................................................... 24
Search Parameters ............................................................................................................. 24
Collecting Data ................................................................................................................. 25
Developing a Taxonomy, Classifying Research ............................................................... 26
Annotating Tier One Research.......................................................................................... 29
Pilots ................................................................................................................................. 29
4. RESULTS ................................................................................................................................. 31
Source Materials: Core Repertoire.................................................................................... 31
Summary of Findings ........................................................................................................ 33
Formats ............................................................................................................................ 34
Tier Classifications .......................................................................................................... 39
Composers and Compositions .......................................................................................... 41
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5. DISCUSSION ........................................................................................................................... 46
Purpose and Results Summary.......................................................................................... 46
General Discussion ........................................................................................................... 47
Authorship............................................................................................................. 48
Print Sources ......................................................................................................... 48
Taxonomy ............................................................................................................. 49
Composers............................................................................................................. 50
Compositions ........................................................................................................ 50
Relationship to Literature ................................................................................................. 51
Limitations ........................................................................................................................ 53
Implications for Practice ................................................................................................... 55
Resource ................................................................................................................ 55
Taxonomy ............................................................................................................. 56
Future Research .................................................................................................... 56
Availability ........................................................................................................... 56
Suggestions for Further Research ..................................................................................... 57
Conclusion ........................................................................................................................ 58
APPENDICES .............................................................................................................................. 59
A. JOURNALS PUBLISHING ANALYTICAL RESEARCH OF CORE REPERTOIRE ........ 59
B. CORE REPERTOIRE: ALPHABETICAL LISTING BY COMPOSER ............................... 62
C. COLLEGES AND UNIVERSITIES OVERSEEING ANALYTICAL RESEARCH OF
CORE REPERTOIRE ............................................................................................................. 66
D. PRINT SOURCES PUBLISHING ANALYTICAL RESEARCH OF CORE
REPERTOIRE ........................................................................................................................ 70
E. QUANTITY OF CITATIONS AS A FUNCTION OF COMPOSER AND TIER
CATEGORY ........................................................................................................................... 76
F. QUANTITY OF CITATIONS AS A FUNCTION OF COMPOSITIONS AND TIER
CATEGORY ........................................................................................................................... 79
G. TAXONOMY: CATEGORIES OF ANALYTICAL RESEARCH OF CORE
REPERTOIRE ........................................................................................................................ 86
H. ANALYTICAL RESEARCH OF WIND BAND CORE REPERTOIRE .............................. 88
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LIST OF TABLES
3. Wind Band Core Repertoire as a Function of Decade and Quarter Century .......................... 32
14. Quantity of Citations as a Function of Composer and Tier Category (>20 citations) ............ 41
15. Quantity of Tier One Citations as a Function of Composer (>7 citations) ............................. 42
17. Quantity of Tier One Citations as a Function of Composition (>5 citations) ......................... 44
21. Colleges and Universities Overseeing Analytical Research of Core Repertoire .................... 66
22. Print Sources Publishing Analytical Research of Core Repertoire: Chapters in Edited
Books ...................................................................................................................................... 70
vii
23. Print Sources Publishing Analytical Research of Core Repertoire: Collections of
Annotations ............................................................................................................................. 73
24. Print Sources Publishing Analytical Research of Core Repertoire: Complete Books ............ 74
viii
LIST OF FIGURES
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ABSTRACT
Acton Ostling was a pioneer in providing empirical evidence that certain compositions are worth
consideration due to their acceptance, skill and degree of serious artistic merit. His research
allowed band directors to sort through a relatively young band repertoire, but did not provide
them with a method for facing a much more difficult task: to discover and utilize resources for
the preparation and performance of quality wind works. A review of related literature suggested
a need to discover, catalog and describe what research is available on works that the profession
considers its canon. The purpose of this project was to identify relevant analytical research on
wind band core repertoire. This project sought to answer the following research questions. 1)
How much research is available on compositions that our profession has deemed to be of serious
artistic merit? 2) What taxonomy can be developed to analyze the depth of a research article? 3)
What type and to what depth are the analyses on each work? 4) What compositions have been
inadequately addressed through research? The core repertoire, for the purposes of this study, was
defined as those compositions deemed to be of serious artistic merit in two of three studies based
on Acton Ostling’s research (N=107). Analytical research was found for each of the
compositions utilizing online database search engines and print resources. Based on the initial
search parameters, 963 citations were found regarding core repertoire. The data were categorized
using a five-tiered taxonomy. Tier one research was further analyzed and annotated for future
reference. Results indicate a growing body of analytical research regarding the selected
compositions. The depth of the individual analytical studies varies greatly, from annotations to
selected core repertoire has no or little known in-depth research associated with it. Results
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suggest a need for further scholarship not only with regards to analyzing under-represented
works, but also with making such analysis research available to a larger population of the
profession via inclusion in standard database search engines and print sources. Additionally, such
research may provide a method with which to catalog and categorize other research, analytical
and otherwise, and could provide a starting point in programming and preparing works of value.
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CHAPTER 1
INTRODUCTION
Ostling (1978), Gilbert (1993) and Towner (2011), provided evidence that certain
compositions are worth consideration due to their acceptance, skill and degree of serious artistic
merit. Because the body of wind band repertoire was relatively young compared to orchestral
and choral repertoire, there was relatively little research performed on wind works. William
Tarwater (1958) suggested that there had been no formal analytical study of wind literature prior
Only in the twentieth century has the band come into its own. Certain of the leading
present-day composers have recognized it as a serious musical medium and some excellent
compositions have been forthcoming… Since this is true, the repertoire is obviously, to a large
Holvick and Whitwell (1976) considered this same problem: “How long did it take for
the symphony orchestra to gather its considerable repertory? … A period of nearly 400 years.
How long has the concert band been a thing of reality? Less than 100 years” (p. 55). As
compared to orchestral and choral genres, there has been comparably little research done
Band directors have faced a daunting task to discover and utilize analytical resources of
quality wind works. Frederick Fennell (1975) summarized the issue facing band conductors:
There are many aids available to the orchestra conductor… There are marvelous
Beethoven’s Symphonies – a conductor’s handbook that is still valid today. Although one
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might disagree with some things that Weingartner had to say, the publication is a
hallmark because this extremely experienced man had distilled a lifetime of thought
about these monumental works into a printed reference work that is available to every
conductor. But in the band field, there are practically no materials of this sort. With the
exception of a few recordings and an occasional article, the bulk of thought on the
performance of the band’s literature has been spoken from podiums by inspired
conductors through the years … and is now totally lost to the profession as a whole,
remaining only in the fond--but often dim memories of those who had the good fortune to
A review of related literature suggested a need to discover, catalog and describe what
research is available on works that the profession considers its canon. The purpose of this project
was to identify relevant analytical research on wind band core repertoire. This project sought to
answer the following research questions: 1) How much research is available on compositions
that our profession has deemed to be of serious artistic merit? 2) What taxonomy can be
developed to analyze the depth of a research article? 3) What type and to what depth are the
analyses on each work? 4) What compositions have been inadequately addressed through
research?
Limits of Study
For the purposes of this study, searching analytical resources for repertoire was limited to
the 107 compositions labeled “core repertoire.” Citation inclusion was limited to published
research that referred to the specific title of the composition. Citations on particular genres,
biographies of composers, or of other general nature were excluded. Citations of program notes
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and CD liner notes were excluded. Citations in foreign languages were included as part of the
Definitions
• Core Repertoire – Repertoire that met the criteria of “serious artistic merit” in two of the
• Highly Regarded Research Journals – Journals that are labeled as the most respected in
• Tier (1, 2, 3, or 4) – Categories into which citations of analytical research are placed.
• Tier F – Category into which foreign language citations of analytical research are placed.
• Monographs – Collections of essays of research that may have been collected from a
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CHAPTER 2
The history of wind music and wind performance has been rich and diverse, yet the wind
band in its modern configuration as an artistic collegiate ensemble is a relatively young concept.
Acording to Cardanay (2006), a professional band director’s primary goal in the late nineteenth
and early twentieth centuries was to entertain audiences. Patrick S. Gilmore, perhaps the first
major figure in the professional band movement, inspired John Philip Sousa. Sousa asserted that
the professional band was to give the public entertainment, not to educate. During the second
decade of the twentieth century, the professional bands’ popularity began to fade as wind bands
became more popular in colleges and public schools. Schools during the American School Band
Movement performed literature for entertainment similar to that of the professional bands. This
movement did not have an influence on the growth of original wind repertoire as much as its
century, college wind band programs substantially increased in number and size. Toss (1964),
Wahl (1977), and Milburn (1982) found indications of considerable growth and acceptance of
the wind band by a majority of collegiate conductors. The purpose of the collegiate wind band
shifted from entertainment and ceremony toward education and developing an artistic
performing ensemble (Hunt, 1949; Wilson, 1950). By 1982, concert wind bands outnumbered
marching bands in the College Band Directors National Association. Milburn (1982) suggested
that this shift in ensemble types indicated a de-emphasis of the entertainment image in favor of a
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Legitimacy
documented a concern for legitimacy. Goldman (1938, 1946, 1961) addressed the “modern”
dilemma facing professional, collegiate and school bands as quality repertoire and
instrumentation. Goldman believed the band to be less legitimate as compared to the symphony
orchestra based on its established repertoire and instrumentation (Goldman, 1961; Henderson,
1962).
college bands. Sousa’s style of programming greatly affected the programming of collegiate
bands. Sousa’s programs usually consisted of a variety of short pieces in a wide range of styles,
such as marches, solos, orchestral transcriptions, and novelty works. This programming concept
did not encourage longer or more serious original works to be composed for the medium
(Cardanay, 2006). Frank Prindl (1956) noted a lack of extended works for the medium prior to
1950, while Frederick Fennell (1954) asserted that quality literature does exist for the medium
from antiquity.
During the first half of the twentieth century, composers had an interest in writing for
wind band, as can be seen by important works of Stravinsky, Holst, Vaughan Williams and
obtaining a performance of his work. New works must compete with the huge repertory
of standard music, which is the orchestra's heritage. The band should be more accessible
to composers. It should be more eager to give the new composer a hearing, and it should
likewise be less bound by a mass of tradition. This requires, of course, an interest on the
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part of the bandmasters, and a willingness and ability to give good performances of new
works, performances which will in every way meet the demands of the composer and
David Whitwell (1972) described three “crisis periods” in the development of the wind
band repertoire. During the first two time periods, band directors discouraged composers’
continued output by not programming new works. It was not until the third period in the 1950’s
that band directors took advantage and began to encourage further output. Ostling (1978)
contended that the commission of Paul Hindemith’s Symphony in B-flat in 1951 marked a change
in attitude and a turning point in attracting composers and conductors to the wind band. Its
literature became a medium for performing and composing works of serious artistic merit.
When studying the history of the college band movement, McCarrell (1971) came to a similar
conclusion. Bryan (1972) asserted that movement towards programming more artistic works was
in its infancy, placing the wind band in an advantageous position to attract new composers to
write for the emerging medium. Perhaps this change in attitude by composers and the
professional musical world came in part due to the development of a different concept of wind
band instrumentation.
Instrumentation
Instrumentation may have been one hindrance to the development of the wind band.
Dyson (1921) cited a history of non-standard instrumentation in British military bands causing a
difficulty for composers. In the early twentieth century, Albert Austin Harding and Mark H.
Hindsley at the University of Illinois had developed large symphonic band instrumentation with
multiple doublings that set the standard for collegiate and public schools bands for much of the
early twentieth century (Cardanay, 2006). “University and college bands in the early 1950’s still
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were modeled after Albert Austin Harding’s University of Illinois Band” (Battisti, 2002, 66). The
standardization of the large symphonic band and a standardized sound perhaps discouraged
A defining moment in the development of artistic repertoire for the wind band perhaps
came with the inception of the Eastman Wind Ensemble in 1952. In Time and the Winds (1954),
Frederick Fennell explained the founding and philosophy of the Eastman Wind Ensemble and
how its flexible instrumentation concept served as a means for enticing composers to write for
the group. The Eastman Wind Ensemble spurred a movement across the collegiate band world. It
enabled an expansion of possibilities for the wind band and sources of repertoire have become
much more diverse because of it (Vagner, 1970). The wind ensemble encouraged composers to
player to a part, an orchestral performance concept, and developing individual instrument tone
colors (Hunsberger, 1972). Billingsley (1975) championed the wind ensemble’s flexible
instrumentation because it allowed the composer more creative freedom. This freedom
encouraged composers to experiment with new instrumentations and tone colors, writing for
Emerging Repertoire
Through the work of the wind ensemble movement, composers were given attractive
opportunities to create extended works for a flexible medium of winds and percussion that
embraced new works, instrumentations, and performed at a high level. The College Band
Directors National Association (1967) published the proceedings from a panel discussion
regarding the emergence of a serious artistic band repertoire, including the repertoire from the
military and professional band era, the emerging repertoire from a historical perspective, and the
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repertoire more recently developed over the past 25 years. Paul Bryan (1972) also looked at the
emerging repertoire in the wind band field as compared to the orchestral world. He noted that the
wind band medium has a larger body of programmed twentieth century works that, by 1972,
placed bands in an advantageous position to attract new, young and established composers to the
medium. Today, the literature includes a wide breadth of repertoire, and many organizations and
scholars have attempted to identify quality repertoire suggestions for various performance
situations.
Creating Lists
What is good music? Frederick Fennell (1975) offered this definition: “Good music –
indestructible masterpieces for band that have survived the ravages of time and many an inept
conductor, as well as newer works of quality that seem destined for longevity” (p. 29). Lists of
“good music” have been created by individuals, committees, state and professional organizations,
and through empirical scholarship. Several publications endeavor for a more bibliographic or
comprehensive list of repertoire for the wind band medium. The Band Music Guide was one of
the first published attempts at a comprehensive list of published music, started by Kenneth
Berger in the 1950’s. A later edition was published and disseminated to a much wider population
via the Instrumentalist Company. The list included 15,000 titles in print. Through the 1960’s and
1970’s, it was revised and amended to include music reviewed and graded in the “New Music
Reviews” feature in The Instrumentalist. The Heritage Encyclopedia of Band Music attempted to
document every piece of music written for concert and military bands (Reherig, 1991). David
Whitwell (1984) published a list of over 30,000 compositions for wind instruments in more than
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450 libraries around the world. While such lists have been useful to locate materials, they lack
Since the early thirties, many states have developed suggested lists of repertoire for
school music ensembles to use for competitions and festivals. These and additional national
organization lists seem to follow a model established in New York in 1938, which included
selective music in six grade-levels of difficulty based primarily on criteria of finding music
appropriate to the amount of rehearsal time (Ostling, 1978). Two early examples included the
work of the New York State School Music Association and the Virginia Band and Orchestra
Directors Association (Berg, 1976; Lansing, 1975). The Prescribed Music List in Texas (1991)
showed more evidence as to how a committee of experts pared down 2,000 compositions to 500
based on a set of criteria that focused on the educational merits of each work. Auxiliary
organizations also have published lists of repertoire for similar purposes, such as the National
School Band Orchestra and Vocal Association (1952) and the National Band Association (1987)
(Wright, 1976). As work of committees, each list offered some validity, however, many did not
come with established guidelines. Most of these lists also had a specific audience in mind with
(Ostling, 1978). Lists of repertoire have also been important at the collegiate and professional
level.
develop lists and published them to provide access to their membership. “The establishment and
classification of a standard repertoire for wind band is a matter which has long occupied such
organizations as the American Bandmasters Association, the American School Band Director's
Association, and the College Band Directors National Association” (Bruning, 1980, 8). The
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College Band Directors National Association once maintained lists of literature through their
Books of Proceedings in the following areas: solos with band accompaniment in manuscript,
music available on rental, and published band music (Ostling, 1978). As early as the 1950’s, the
CBDNA Published Band Music Committee had been concerned with a biannual selective list of
literature. Every member of the committee identified and voted on works believed worthy of
inclusion (Holvick, 1962). Hunsberger (1977) collected several selective music lists, compiled
and distributed them at the eighth National Symphonic Wind Ensemble Conference for
evaluation. He published the results at the Eastman Wind Ensemble Festival Symposium later
that year. The World Association of Symphonic Bands and Ensembles (WASBE) published a
report that included 373 wind band compositions as contributed by each of the member countries
in 1987. This report included a representative sample of compositions from each member
country (Everett & Rowell, 1987). Similar to secondary programs, the committee work of
collegiate and professional organizations provide resources for their constituents, however, due
to the nature of the audience, they lack some validity. Another source of repertoire lists exist in
A number of books published on the topic include repertoire collections derived from
individuals and committees, and written for various audiences. A major source of materials for
the Ostling (1978) and Gilbert (1993) dissertations came from the work of H. Robert Reynolds
(1975), and the subsequent update by Corporon and Wallace (1984). Gilbert also used the New
Grove Dictionary of Music and Musicians and the New Grove Dictionary of American Music,
A Biographical Dictionary, The Dictionary of Composers and Their Music, Recorded Concert
Band Music 1947-1987 and Band Music Guide, Eighth Edition to help discover new works to
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add to Ostling’s master list. Perhaps the most recent and visible catalog of modern band works
has been the series: Teaching Music through Performance in Band (Miles, 1997-2010). Thomas
Dvorak has also authored several books that identify repertoire in the context of the best music
for high school, young and beginning bands. Because of its focus on school bands, these books
leave out some wind band masterworks that are too technically difficult for that level of student
(Dvorak, 2005; Dvorak & Floyd, 2000; Dvorak, Schmalz & Taggart, 1986/2005; Dvorak,
Grechestky & Ciepluch, 1993). Rodney Winther (2004) produced an annotated catalog of works
for chamber ensembles between six and eighteen players. Felix Hauswirth authored eight
editions of a list of selected quality works for wind band, listing over 1,000 works (Hauswirth,
2010). Rather than trying to identify works according to some criteria of merit, other attempts
have come from book series that profile individual composers. Timothy Salzman (2003-2009)
and Mark Camphouse (2002-2006) each published such in four volume series. Each of these
publications has taken a unique look at the repertoire. Empirical resources via peer-reviewed
Peer-reviewed publications and dissertations have also included lists as a way of sorting
through the extensive repertoire. As early as 1958, The Instrumentalist published a series entitled
“The Best in Band Music.” This series included an index of works voted on by a select number
of current band directors. Both Donald Hunsberger (1977) and Arnold Gabriel (1984) have also
published catalogs of important repertoire for band in The Instrumentalist. Similarly, the journal
for the National Association for Music Education: Music Educators Journal has published
itemized repertoire. One such example is Grashel (1989), who published a record specifically
geared to disseminating names of quality repertoire for young bands. Other lists have been
created, analyzed and researched as part of dissertation projects. Some scholars created a
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repertoire directory as recommendations based on the results of their empirical research
involving school aged ensembles (Christianson, 1982; Trimborn, 1984). Researchers have also
outlined lists of works within specific subsets of wind band music. Ayoob (1988) discussed in
detail eight of the 48 works written for the Massachusetts Institute of Technology (MIT) as
worthy of consideration for wind band programming. Maloney (1986) researched 140 Canadian
wind ensemble compositions and discussed seven works in detail as representative of the body of
literature. Halseth (1987) explained the history of the commissioning projects and concert
premieres of CBDNA. Tarwater (1958) explored the opinions of the CBDNA membership, and
asked them to submit their best ten original works for band. The Instrumentalist (1979) took a
similar path by polling band directors for “recommendations of the compositions that should be
in every school band or orchestra library in the country and studied at least once during a
student’s time in the organization.” Whether for secondary, professional, or through publications
or empirical research, repertoire lists are all created based on some type of criteria, whether that
is implied or stated.
committee vote, and audience influence each criterion. The latter perhaps has the largest
influence on the exclusivity of a published list, whether the publication is intended for the
professional, collegiate or school band purposes. A list’s audience affects inclusion based on
compositional craft, educational objectives or aesthetic guidelines. While many state lists do not
publish their criteria, inclusion seemed to be primarily centered around perceived educational
value. Many state lists were built from the 1938 New York State School Music Association
Manual, where criteria encouraged finding compositions appropriate to the amount of rehearsal
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time required and within the six level classifications for competition or festival. The Texas
1) To provide concert band literature that would enable any ensemble in a particular
performance of the music. 2) To include both transcriptions and original band works in
each classification that would be within the reach of less technically and musically
mature organizations, yet also include selections that would significantly challenge the
most mature ensemble in that same class. Special emphasis was placed upon upgrading
The National Band Association (1987) stated similar goals to the state lists. NBA included the
All music on the list was deemed worthy of being placed on a concert with sound
educational goals by at least one member of this or the original committee. Some of the
older transcriptions were left on the list because of their historical value; even through
however, these catalogs lacked validity by leaving out detailed and specific criteria as to which
Many of the available published resources, while still geared to specific audiences,
included more specific descriptions of criteria for inclusion. Thomas Dvorak (1993) included
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Compositions must exhibit an orchestration that, within the restrictions associated with a
particular grade level, encourage musical independence both of individuals and sections.
(p. 10)
Rodney Winther (2004) designed his survey of chamber music with criteria based more on
aesthetic constructs, rather than towards educational values. His criteria included:
An effort to include works of which he had first hand knowledge through performance, 6)
An effort to include works that have been professionally recorded, and 7) An effort to
Criteria for inclusion in publication were necessary to increase the validity of the author’s
opinion. Another body of research sought out reasons behind individual programming decisions.
A body of recent research outlined criteria used by music teachers to choose repertoire
for their ensembles. In an article in the first volume of the Teaching Music through Performance
in Band series, Ray Cramer (2010) suggested criteria for finding quality band literature:
Does the music have: 1) a well-conceived formal structure? 2) Creative melodies and
elements? 6) Scoring which best represents the full potential of the wind ensemble? 7) An
emotional impact? If we are going to teach about music and through music while
performing music, then we must incorporate all of these elements into our rehearsal
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Crochet (2006) found that experienced directors chose music for its quality and educational
content above other factors. Carney (2005) identified twelve criteria of quality and suitability
that influence a director’s selection of literature. Carney found that the elements of suitability,
experience level, instrumentation and available rehearsal time ranked higher than those of quality.
In similar findings with choral directors, Canfield (2009) found that directors looked at
educational and external factors more often than repertoire quality. Dean (2011) attempted to
collate such research into a methodology for evaluating choral literature. Dean created a
pedagogical merit criteria based on choral specific pedagogy, and aesthetic merit criteria based
each of these studies looked at criteria for finding quality literature, the inclusion of
Another area of research examined repertoire quality from solely an aesthetic or artistic
standpoint. Acton Ostling’s dissertation (1978) identified respected wind conductors through a
national survey of college band directors. Each evaluator was nominated and elected as being a
well-respected expert. Ostling then developed a list of over 1,400 wind band compositions. He
defined the compositions, and therefore the audience, as 1) scored for at least ten wind
ensemble, and 3) the use of a conductor in performing the composition. The list was sent to each
of twenty evaluators to be judged based on a researched list of ten criteria of serious artistic merit.
15
1) The composition has form--proper balance between repetition and contrast.
2) The composition reflects shape and design, conscious choice and judicious
musical meaning.
pedagogical usefulness.
A Likert-type scale was designed where zero indicated the evaluator was not familiar with the
work, and a scale of one to five where one indicated strong disagreement, three indicated
undecided, and five indicated strong agreement. Ostling determined a sliding scale that was
initially based on an 80% score, where each evaluator familiar with a work would have to rate
the composition a four or better. He found 314 works to meet these criteria. Garofalo (1980)
praised Ostling’s research asserting that his was the first systematic evaluation the quality of
wind band literature. He concluded that Ostling’s research was done successfully, and of great
value to the profession. Such valuable research has been replicated and modified in subsequent
years.
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Ostling’s research has been replicated twice. Gilbert (1993) replicated the Ostling study,
and of the twenty evaluators used, six of them were evaluators on the original panel. Gilbert’s
source list of compositions (N=1,158) included 111 new works composed since the Ostling study.
Gilbert found a total of 192 compositions that met the same criteria benchmark for serious
artistic merit, 162 of which were compositions listed in both studies. Clifford Towner replicated
the Ostling and Gilbert studies in 2011. Of the eighteen evaluators who agreed to participate,
four had participated in the Gilbert replication, two of whom also participated in the original
study. Towner added several hundred works to the source list (N=1,680). Results indicated 305
works that met the criteria of serious artistic merit, 89 of which were in both the Ostling and
Gilbert studies. A total of 107 works met the criteria for serious artistic merit in two of the three
studies. While these three studies form the basis of artistic merit research, other studies have
Other replications with modifications of the studies regarding serious artistic merit exist.
Some reserach explored different source materials based on similar criteria to the Ostling
research. Thomas (1998) used eight of the ten criteria from the Ostling study with slight
modifications, eliminating criteria 5 and 7, and replacing them with criteria referring to grade
levels and educational benefits. Rhea (1999) produced a similar study, utilizing the Texas state
list as source material for the compositions. Rhea used the criteria from the Teaching Music
through Performance in Band (1997-2010) series and the methodology and rating scale from the
Ostling study. Kenneth Honas (1996) replicated the methodology and criteria of the Ostling
study, but with mixed chamber winds repertoire utilizing six to nine players. Olfert (1992) used
the methodology of the Ostling studies with a limited amount of repertoire commissioned by the
17
American Wind Symphony Orchestra. Other research has been loosely based on the results of
the artistic merit studies, but with extensions for other purposes.
A body of scholarship extended the scope of the artistic merit research. Gaines (1996),
Hayward (2004), Peterson (1986) and Howard (2001) took similar approaches in asking band
directors at the collegiate, high school, or middle school levels which compositions were most
important to learn. While evaluating the programming practices of high school band directors,
Young (1998) attempted to correlate the repertoire lists of renowned educators such as Frank
Battisti, Thomas Dvorak, Richard Miles and H. Robert Reynolds, with the artistic merit studies
of Ostling (1978) and Gilbert (1993), and the programming studies of Woike (1990), Negro
(1994) and Gaines (1996). Young created a Repertoire Evaluations Inventory (REI) numeric
system where 530 works were determined to contain a notable level of quality. Jones (2005)
summarized research over the past fifty years. He discussed methodology and results of Wilson
(1950), Ostling (1978), Gilbert (1993), Woike (1991), Casey (1993), Gelpi (1984), Peterson
(1986), Gaines (1996), and Jones (1997). Jones explained the different approaches that have been
taken in analyzing wind band repertoire: Ostling and Gilbert analyzed expert opinion, Woike and
Casey investigated programming at collegiate level, Gelpi and Peterson asserted that band
repertoire needs to serve curricular purposes, not just artistic, and Gaines explored core
repertoire for high school level bands. The research of Young and Jones suggest other
Programming Research
programming practices. Some of the earliest programming research has been done in the book
series by Richard Franko Goldman (1938-1961). Since then, numerous studies have been
18
published regarding the performance and programming practices of college band directors,
including Holvik (1966), Hornyak (1985), Battisti (1989), Woike (1990), Hopwood (1998), Kish
(2005), and Powell (2009). Other researchers looked as specific subsets of programming.
Odegard (1955) examined repertoire of bands at his time, and the prominence of certain
composers in the medium. Paul Bryan (1972) compared programmed repertoire in the band field
to that of the orchestral genre, finding the wind band medium to have programmed more
twentieth century works. Hash (2005) looked at the programming practices of Illinois young
bands at concert festivals. King (2001) looked at the programming practices of small non-
auditioned college ensembles. Moore (2001) examined wind works appropriate to religious
contexts in the collegiate setting. Programming research has been limited due to the availability
and completeness of submissions across a varied sample of groups. Perhaps another definition of
quality literature could include those compositions with published analytical research.
Analytical Research
determining which literature has been researched. Ostling (1978) found some early wind band
analysis research in some scholarly music journals, including Music and Letters and Musical
Quarterly. Some early examples included Gustav Holst (Cantrick, 1956), the life and work of
Karel Husa (Hartzell, 1976), the wind music of J. C. Bach (Sadie, 1956), and the work of Percy
Grainger (Scott, 1916). With the establishment of the Journal of Band Research in 1964, the
wind band field had a dedicated, peer-reviewed publication to promote further scholarship in the
genre. Hubert Henderson’s editorial in the first issue (1966) of the Journal outlined its mission:
… [to] invite individuals to submit papers on subjects within four broad categories
related to either the history or the literature of the wind band: 1) analytical discussions of
19
band music; 2) scholarly biographical studies of composers who have written for the
band; and 4) first-hand, factual accounts of outstanding personalities or events within the
One of the more visible research sources in the wind band field has been the Teaching
Music through Performance in Band series (Miles, 1997-2010). This series offers a standardized
format of scholarly articles on selected wind band works. Each research contribution was sorted
1) Composer – a basic biography, 2) Composition – a basic overview of the piece and the
the compositional technique and history of the composer, the piece and/or genre, 4)
Technical Considerations – addressing ranges, difficult passages and other issues that
Elements – describes harmonic and melodic, harmonic, rhythmic, and [timbral] elements
in some detail, 7) Form and Structure – outline of the form and architecture, 8) Suggested
Listening – list of similar works, styles and composers, and 9) Additional References and
Resources.
dissertation and thesis work of conductors in the field. This scholarship has grown immensely
since the charge from David Whitwell in 1972, encouraging college band directors to pursue
scholarship from a historical perspective, with “intuitive vision, aesthetic logic and didactic
20
integrity.” The breadth of research is such that it is necessary to find ways to locate and
Bibliographic Research
Summarizing and reviewing analytical research has been an area of scholarship pursued
across all music genres. Harold Diamond (1991) defined analysis to include general remarks on
style, comparison of sketches, descriptive commentary, record reviews and general remarks and
performance notes. He published a resource of music analyses from looking at more than 750
books, including the Master Musician series, the New Oxford History of Music, the Norton music
history series, the Penguin surveys of musical genres, the BBC Music Guilds, numerous
biographies, more than a hundred periodicals and more than 400 dissertations. The book includes
4,655 entries, arranged by composer, including citations of a general nature, entries regarding
genres, and analyses of specific works. Wenk (1992) concluded that Diamond’s work served as a
valuable resource and a good example of informative annotations, compete citations and clear
layout, for the music world as a whole. Bibliographic research has also been pursued in the wind
band genre.
Early bibliographical research was needed in order to disseminate where and how
research could be found at a time when finding such was much more difficult than today. Cipolla
(1979) looked at a broad sampling of research in the band field, and included early documented
analytical research. The author also explained the difficulty of finding research in keyword
databases in 1979 (as well as today), as many titles do not include the composer or specific work
being analyzed. In a follow up article, Cipolla (1980) included one important resource to find
band research: Bibliography of Masters and Doctoral Dissertations in Music Completed at Texas
Colleges and Universities. While the Cipolla study had a broad focus of band related literature,
21
Good (1983) published two bibliographic lists that focused on just band repertoire. Good’s
resource contained more references to locate repertoire analyses than Cipolla’s research.
Utilizing Cipolla’s study in the Journal of Band Research, Good used the Dissertations and
Abstracts International database (DAI), Band Music Notes by Smith and Stoutamire, The
Instrumentalist, and the School Musician publications, although the latter focused more on
performance reviews to locate literature resources for band repertoire analyses. Gary Sousa
(1985) looked at doctoral dissertations analyzing wind band music. Mark Fonder (1998)
provided a valuable update to Sousa by including the CBDNA Journal, The Instrumentalist, The
Journal of Band Research, Winds, and the UMI database as resources. Allen (2006) created an
updated index of analytical research on wind band pieces similar to Fonder and Sousa. Allen
found a wide breadth of research on a large number of wind works. His was a recent study that
attempted a comprehensive look at existing wind band repertoire research. The study was limited
to specific online database searches, did not utilize print sources, and excluded important
journals in the field, such as the WASBE Journal and Winds (published by British Association of
Symphonic Bands and Wind Ensembles). Allen did outline a specific research method for
working through relevant databases and his choice of search engines was researched and brought
a depth of results. The study provided a starting point for discovering research on specific
compositions considered relevant to conductors practicing in the wind band field. Sousa, Fonder,
and Allen provided only bibliographic listings of resources for colleagues to find research on
wind literature, without any attempt at judging the quality or depth of such research.
Thesis
The literature suggests a need to discover, catalog and describe the research available on
works that the profession is beginning to consider as its canon. The purpose of this project is to
22
identify relevant analytical research on wind band core repertoire. This project seeks to answer
the following research questions. 1) How much research is available on compositions that our
profession has deemed to be of serious artistic merit? 2) What taxonomy can be developed to
analyze the depth of a research article? 3) What type and to what depth are the analyses on each
23
CHAPTER 3
METHOD
Core repertoire, for the purposes of this study, was defined as those compositions deemed
to be of serious artistic merit in two of three related studies: Ostling (1978), Gilbert (1993) and
Towner (2011) (N=107). Compositions for wind band that met the criteria of serious artistic
merit in the Ostling and Gilbert or Ostling and Towner studies were identified (n=87). An
additional twenty compositions were not included in the Ostling study, but met the criteria in
both the Towner and Gilbert replications. As suggested by the literature, these compositions
Search Parameters
Based on the research of Allen (2006), a systematic method was designed for identifying
relevant analytical research. Allen utilized search terms “wind” and ‘”analysis” to locate
reference citations in four online databases: RILM, Music Index, IIMP and DAI (now ProQuest).
course at the Ohio State University. The current project seeks to replicate and extend Allen’s
research. It uses specific composition titles and/or composers as search terms, and utilizes online
and print sources to identify relevant research regarding each individual composition.
Online database engines were selected to provide the broadest spectrum of results.
Databases were initially chosen based on their listings of included journals when referenced to
relevant research. Allen (2006) and Bruning (1980) referenced wind band analyses in varied
journals, including: Music Educators Journal, Journal of Band Research, The Instrumentalist,
24
The Musical Quarterly, The School Musician Director and Teacher, Journal of Research in
Music Education, and Music Index. As in the Allen study, ProQuest Database of Dissertations
and Theses (formerly DAI) and RILM were again searched. Music Education Search System
(MESS) and Google Scholar were added as recently developed search engines. Worldcat was
utilized to provide a broader search base and to include theses, foreign language items and books.
Music Index, IIMP, JSTOR and Academic Search Complete are examples of databases not
included for various reasons, including a lack of library subscription (Music Index) and another
database offered a broader and more inclusive search parameter (Worldcat over Academic
Results from other bibliographic and analytical research were used as sources for the
compilation. Included were results from peer-reviewed research: the Allen (2006) dissertation,
the Fonder (1998) article in the CBDNA Journal, and the old issues of the Journal of Band
Research (available electronically from the University of North Carolina, Greensboro). Print
sources were also identified as sources for this research. Included were articles and references
from the Teaching Music Through Performance in Band series (Miles, 1997-2010), annotation in
Rodney Winther’s book on chamber music (2004), and two bibliographic source books of
analytical research of repertoire: Hoek (2007) and Diamond (1991). Using these resources,
Collecting Data
The citations and associated research were then reviewed to ensure the inclusion of
relevant analytical information. Research was included if it was published and contained specific
analytical material on the composition. Background material specific to the composition was
included as this information could conceivably be used for analysis of the work. Periodicals or
25
journal articles, book chapters, dissertations, theses, and published annotations were included
when they referenced the specific composition. Material was excluded if it was unpublished
research, a music review, composer background, manuscript, compact disc liner notes, or
collections of program notes. While a majority of the research was available for analysis (70%),
some citations were only available as a citation or with a published abstract. Categorization was
made with the information available and citations were logged as “Text Available, “Abstract
Only Available” or “Title Only Available.” After initial sorting, unavailable dissertations
The literature contains two sources that have made quality judgments of a large number
number of compositions. Each reference was based on its presentation format and includes the
background material, periodical, journal article, dissertation and thesis, manuscript, and
interview. Bruning analyzed the quality of each reference, and commented on its accuracy and
level of detail. While discerning quality of writing, accuracy or quality of analysis was beyond
the scope of this study, a taxonomy was created to categorize the depth of discovered research.
Diamond (1991) annotated 4,655 sources of analytical information, describing the content and
level of detail. A percentage of Diamond’s annotations were analyzed for common themes, as a
starting point from which taxonomy could be developed to categorize the research found in this
project.
As each reference in this project was cataloged, it was sorted based on format and content.
Five categories, or tiers, of treatment were created (Taxonomy is summarized in Appendix G).
26
1) Tier One research is peer-reviewed and is primary research where the analysis of the
composition is the primary or major topic of the research document. Formats may include a
assumption was made that a doctoral-level document would provide a more in-depth treatment
than that of a Master or undergraduate honors thesis. A highly regarded research journal is
defined as a journal most respected in the instrumental conducting and music education fields as
2) Tier Two research is also peer-reviewed and is primary research where the analysis of
the composition is the primary or major topic of the research document. Formats distinguish this
level from Tier One. Formats may include a master or baccalaureate thesis, or a journal article
not labeled as a “highly regarded research journal.” An assumption is made that a master or
baccalaureate document may not provide as much in-depth treatment compared to a doctoral
dissertation or thesis. Likewise, a journal article published in a journal not as “highly regarded”
may not address the topic as completely as those in the most respected journals.
3) Tier Three research may be reviewed and edited, but not necessarily by a panel of
experts as would be seen in a peer-reviewed journal or for collegiate thesis research. The analysis
of the composition is the primary or major topic of the research document. Formats may include
chapters in edited books, entire books, or essays in monographs. Monographs are defined as
collections of essays of research that may have been collected from a symposium, conference, or
4) Tier Four research contains peripheral or truncated treatment of the composition. The
document may include some analysis, but it is not the primary topic of the research, or it may
27
include very little analysis, as seen in an annotation or program note. Formats may include
5) Sources found in foreign languages were cited and included in the full bibliography,
but not included in the statistical analysis due to the difficulty of verifying its content. These
citations were labeled “Tier F” in Appendix H. Formats may include sections in books,
After data were collected, journal titles were cataloged and presented to experts for
determination as to their status in the field. Participants (N=5) were selected experts in music
education and instrumental conducting at a large university in the Southeastern United States.
Each expert was presented with an alphabetical list of journals (n=74) that included the number
of citations found in the data collection phase (Appendix A). The panel was then asked to
identify which journals they believed to be most respected or “highly regarded” in their field.
Those journals receiving two such indications were labeled as “highly regarded research journal”
for the purposes of this study (Table 1). These included CBDNA Journal, The Instrumentalist,
Journal of Band Research, Journal of the Conductors Guild, NACWPI Journal, Studies in Music
and the WASBE Journal. A justification was made for The Instrumentalist. Although it was seen
as a trade-level journal, it was included due to its disproportionally large number of analytical
articles (n=49) relating to this research, and the respected rank of the authors, such as Frederick
Fennell.
Table 1
Summary of Expert Opinions of “Highly Regarded Research Journals”
Journal N of Citations N of Votes
CBDNA Journal 10 2
Instrumentalist 48 2
28
Table 1 (continued)
Summary of Expert Opinions of “Highly Regarded Research Journals”
Journal N of Citations N of Votes
Journal of Band Research 51 5
Journal of the Conductors Guild 6 2
NACWPI Journal 1 2
Studies in Music 1 2
WASBE Journal 2 3
Citations were analyzed regarding the number of research documents found for each of
the given compositions from the perspective of differing sources and formats. Research labeled
as Tier One was then reevaluated and annotated in order to provide sumamaries of the most-
respected research and to increase the validity and usefulness of this project.
Pilots
Two pilots were performed for this project. The first identified citations for each of the
107 core repertoire compositions from a limited number of sources: the ProQuest search engine,
the Allen (2006) dissertation, and the Teaching Music through Performance in Band series.
Keyword search parameters were utilized to locate the greatest number of citations. Allen used
limited terms (such as “band and analysis”) to locate a breadth of results. This pilot specifically
used search terms identifying the composer and/or key words of the composition title. Results
from the pilot indicated a need to look further than Allen’s published research. Additional
sources of research were found that were not included in Allen’s study. The pilot also indicated a
disparity in the length and depth of various analyses, suggesting a need to develop a taxonomy
29
A second pilot was completed on a portion of the list of compositions (n=10) created by
random assignment utilizing a random integer set generator at Random.org. This pilot searched
the complete list of database and print sources and attempted to categorize the research based on
the example of Harold Diamond (1991). Diamond annotated 4,655 sources of analytical
information, describing the content and level of detail. A percentage of Diamond’s annotations
were analyzed for common themes, as a starting point from which taxonomy could be developed
to categorize the research found in this project. Results of this pilot determined an inadequate
taxonomy for categorization. Specifically, finding a method for fairly categorizing quality among
such a large breadth of research was difficult to achieve or justify and determined to be beyond
the scope of the project. From this determination, the content and format method was developed
30
CHAPTER 4
RESULTS
(Appendix B). Of these, 36 composers each contributed one work, seven composers each
contributed two or three works; two composers each contributed four or five works, and three
composers each contributed six works (Table 2). The latter composers were Warren Benson,
Karel Husa and Igor Stravinsky. In this case, both versions of Stravinsky’s Symphonies of Wind
Table 2
Composer Contributions to Wind Band Core Repertoire
Composers Total Compositions
N works
contributed N % N %
1 36 63% 36 34%
2 7 12% 14 13%
3 7 12% 21 20%
4 2 4% 8 7%
5 2 4% 10 9%
6 3 5% 18 17%
Total 57 107
The composition date of each work ranged from 1773 to 1989 (Table 3). Both written in
1773, the earliest works considered to be core repertoire are Mozart’s Divertimento No. 3 in E-
flat, K166 and Divertimento No. 4 in B-flat, K186. Most recent works (n=10) considered to be
31
core repertoire were written in the 1980’s by Leslie Bassett, Warren Benson, Michael Colgrass,
Jacob Druckman, John Harbison, David Maslanka, Gunther Schuller, and Joseph Schwantner.
Table 3
Wind Band Core Repertoire as a Function of Decade and Quarter Century
Decade Quarter Century
Range N % Range N %
1770‐79 2 2% 1750‐74 2 2%
1780‐89 0 0% 1775‐99 1 1%
1790‐99 1 1% 1800‐24 0 0%
1800‐09 0 0% 1825‐49 3 3%
1810‐19 0 0% 1850‐74 1 1%
1820‐29 1 1% 1875‐99 6 6%
1830‐39 0 0% 1900‐24 20 19%
1840‐49 2 2% 1925‐49 27 25%
1850‐59 1 1% 1950‐74 36 34%
1860‐69 0 0% 1975‐99 14 13%
1870‐79 1 1%
1880‐89 4 4%
1890‐99 1 1%
1900‐09 4 4%
1910‐19 4 4%
1920‐29 17 16%
1930‐39 4 4%
1940‐49 15 14%
1950‐59 11 10%
1960‐69 20 19%
1970‐79 9 8%
1980‐89 10 9%
32
Summary of Findings
Citations were found referencing analyses of core repertoire (N=963). Twelve different
sources were referenced in collecting these data, with varied rates of success (Table 4). The
sources revealing data on the fewest compositions include books by Harold Diamond (20%) and
Rodney Winther (25%), along with the Music Education Search System database (27%). The
sources revealing data on the most compositions included the Proquest search engine (74%)
Milton Allen’s dissertation (72%), Google Scholar (71%), Worldcat (70%) and RILM (67%).
Table 4
Sources Revealing Data on Wind Band Core Repertoire
N of
Source works %
ProQuest search engine 78 74%
Allen (2006) Dissertation 76 72%
Google Scholar search engine 75 71%
Worldcat search engine 74 70%
RILM (Ebsco) search engine 71 67%
Fonder Study (CBDNA Journal) 51 48%
Hoek (2007) study 46 43%
Teaching Music Through Performance series 41 39%
Journal of Band Research back issues 30 28%
References from Teaching Music Through
Performance articles 30 28%
33
Formats
research was found in the form of dissertations or theses. Peer-reviewed journals contained juried
articles. Print sources included edited sources in the form of chapters in edited books, essays in
occasion), and single-authored sources, such as annotations in books and complete books.
Table 5
Quantity of Citations as a Function of Format
N of
Format Citations %
University‐based Research 444 46%
Peer‐reviewed Journals 255 26%
Edited Print Sources (e.g. collections of research) 187 19%
Un‐edited Print Sources (e.g. authored) 77 8%
citations (46%). Of the 444 citations, 301 of them were doctoral level documents and 143 were
master or bachelor level documents. These citations were accumulated from one of 121 colleges
or universities (Table 6). Overall, two universities have produced more citations and research in
this area by a large margin: Florida State University (n=39) and University of Cincinnati (n=31).
Appendix C contains an alphabetical listing of every university producing research found in the
study.
34
Table 6
Quantity of University‐based Research Citations as a Function of
School (>8 citations)
(>9 citations) Non‐
School Doctoral Doctoral Total
Florida State 35 4 39
Cincinnati 31 0 31
Texas 16 1 17
Arizona 15 0 15
Kansas State 0 12 12
Ball State 8 3 11
Illinois 11 0 11
Ohio State 10 1 11
Rochester 8 3 11
Florida 10 0 10
Washington 9 1 10
North Carolina, 9 0 9
Greensboro
Citations from journal articles comprised the next largest percentage of core repertoire
analytical research (27%). With 255 citations, articles were found among 74 journals. Sources
with the most citations include the Journal of Band Research (n=51) and The Instrumentalist
(n=48). Appendix A contains a complete alphabetical listing of journals publishing research that
Print sources were categorized by their authorship: Edited and single-authored research
(Appendix D). Edited books and monographs comprised 19% of the core repertoire analytical
research citations (n=185). Monographs made up the minority (n=42), many from sources
outside the United States. The remaining citations (n=143) appeared in the form of chapter
35
contributions to edited books (Table 7), where the Teaching Music for Performance series
Table 7
Quantity of Edited‐source Research Citations (>1 citation)
Source N
Miles, R. (Ed.) (1997‐2012) Teaching Music Through Performance in Band (Vol. 1‐9). 69
Chicago, GIA Publications.
Votta, M. (Ed.) (2003). The Wind Band and Its Repertoire. Warner Brothers 8
Publications.
Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith Music 6
Publications.
Neidig, K. L. (ed.) (2009). Performance‐Study Guides of Essential Works for Band. 6
Galesville, MD: Meredith Music Publications.
Rapp, W. (2005). The wind band masterworks of Holst, Vaughan Williams, and 6
Grainger. Galesville, MD: Meredith Music Publications.
Salzman, T. (Ed.) (2003‐2012). A composer's insight: Thoughts, analysis, and 6
commentary on contemporary masterpieces for wind band (Vol. 1‐5).
Galesville, MD, Meredith Music.
Fennell, F. (2008). A conductor's interpretive analysis of masterworks for band. 3
Galesville, MD: Meredith Music Publications.
Fennell, F. (1980). Basic band repertory: British band classics from the conductor's 3
point of view. Evanston, IL: The Instrumentalist.
Garofalo, R. J. & Battisti, F. L. (2005). Lead and inspire: A guide to expressive 3
conducting. Silver Spring, MD: Whirlwind Music.
Vester, F. & Koenig, R. (1999). W.A. Mozart: On the performance of the works for 3
wind instruments—concertos, divertimentos, serenades, chamber music.
Amsterdam, Netherlands: Broekmans en Van Poppel.
Hinton, E. L. (2008). Conducting the wind orchestra: Meaning, gesture, and 2
expressive potential. Amherst, NY: Cambria Press.
Mitchell, J. C. (2008). Ralph Vaughan Williams' wind works. Galesville, MD: 2
Meredith Music Publications.
White, E. W. (1966). Stravinsky: The composer and his works. Berkeley: University 2
of California Press.
36
Single-authored research was found in the form of complete books dedicated to a single
topic (n=12) and books containing annotations of a collection of repertoire (n=12). The greatest
proportion of citations in this category (Table 8) were found in Rodney Winther’s An Annotated
Guide to Wind Chamber Music for Six to Eighteen Players (n=25) and Chad Nicholson’s Guide
Table 8
Quantity of Annotation‐level Research Citations (>1 citation)
Source N
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, and VI. 26
Galesville, MD: Meredith Music Publications.
Winther, R. (2004). An annotated guide to wind chamber music (p. 264). Miami, FL: 25
Warner Bros. Publications.
Green J. D. (2008). A conductor's guide to nineteenth‐century choral‐orchestral 2
works. Lanham, MD: Scarecrow Press.
Some citations discovered in the course of this research were found to be unavailable to
the researcher. For example, the RILM database provides citations and abstracts, and the
Worldcat database provides only citations and a short description of the material. Of the 963
citations found, 674 were available for review (70%). Of the various formats (Table 9),
dissertations were found to be the most available (95%), and monographs were the least
available (0%).
Table 9
Quantity of Available Citations as a Function of Format
N N
Format Citations Available Percentage
Dissertation 301 286 95%
37
Table 9 (continued)
Quantity of Available Citations as a Function of Format
N N
Format Citations Available Percentage
Annotation 65 54 83%
Journal 255 200 78%
Chapter 143 103 72%
Book 12 3 25%
Thesis 143 26 18%
Monograph 42 0 0%
Totals 961 672 70%
Citations ranged in publication year from 1938 to 2012. The oldest citation was an article
in the Musical Quarterly about Anton Bruckner’s compositional process. By grouping the data
by decade, they were analyzed in reference to their format (Table 10). While dissertations,
journal articles and monographs show a steady increase in incidents of publication through time,
print sources (in the forms of annotations, entire books and book chapters) have shown a large
increase in the recent past. Thesis publications remained fairly steady in their appearance over
Table 10
Quantity of Citations as a Function of Decade and Format
Decade
Format 1940 1950 1960 1970 1980 1990 2000 2010
Annotation 0 0 3 4 2 1 55 0
Book 0 0 1 0 1 4 4 2
Chapter 0 1 3 6 9 46 50 27
Dissertation 0 8 18 44 66 60 88 16
38
Table 10 (continued)
Quantity of Citations as a Function of Decade and Format
Decade
Format 1940 1950 1960 1970 1980 1990 2000 2010
Journal 0 3 22 49 64 58 44 8
Monograph 0 0 1 5 6 14 13 3
Thesis 2 5 15 26 31 31 27 4
TOTALS 2 17 63 134 180 214 282 60
Notes: Decade indications are as follows: 1950 = 1950‐1959.
The decade 2010 only includes information for 2010 through 2012.
The decade 1930 only included one citation (1938) and is not indicated here.
Tier Classifications
Core repertoire analytical research was categorized into one of five categories or “Tiers”
(Table 11). A priori, citations referring to documents in languages other than English were
separated from further analysis (n=94) and labeled “Tier F”. Tier four research (truncated or
peripheral topics) included the greatest portion of citations (n=297). Tier three research (edited
books, chapters, non-“highly regarded” journals) included the fewest number of citations
(n=126).
Table 11
Quantity of Citations as a Function of Tier
N of
Source Citations %
Tier 1 258 27%
Tier 2 186 19%
Tier 3 126 13%
Tier 5 297 31%
Tier F (Citations in language other than English) 94 10%
39
Some research was not available for review (Table 12). Tier one research was the most
available with (94%) and foreign language documents were the least available (17%).
Table 12
Quantity of Available Citations as a Function of Tier Category
N N
Tier Citations Available %
1 258 243 94%
2 186 84 45%
3 126 94 75%
4 297 235 79%
Foreign Language 94 16 17%
TOTALS 961 672 70%
Citations ranged in publication year from 1938 to 2012. After grouping the data by
decade, the data were analyzed in reference to their tier classification (Table 13). Overall, the
data indicated a greater number of citations throughout time. The data indicated tier one and
foreign language citations to show steady increases over time, while tier three and four citations
showed a spike in publication in recent years. Tier two citations remained fairly level over the
Table 13
Quantity of Citations as a Function of Decade and Tier Category
Decade
Tier 1940 1950 1960 1970 1980 1990 2000 2010
1 0 8 22 44 74 46 52 12
2 2 7 14 36 43 38 35 5
3 0 0 3 3 7 46 39 28
40
Table 13 (continued)
Quantity of Citations as a Function of Decade and Tier Category
Decade
Tier 1940 1950 1960 1970 1980 1990 2000 2010
4 0 1 21 39 37 62 128 10
Foreign 0 1 3 12 19 22 28 5
TOTALS 2 17 63 134 180 214 282 60
Notes: Decade indications are as follows: 1950 = 1950‐1959.
The decade 2010 only includes information for 2010 through 2012.
The decade 1930 only included one citation (1938) and is not indicated here.
compositions are researched more than others. Appendix E contains a complete alphabetical
listing of citation quantity per composer. With 153 citations, Igor Stravinsky is the most
researched composer. Research of twelve additional composers each included greater than 20
citations (Table 14). A few composers (n=5) have only one citation associated with their name
and composition. These include Michael Tippett, Henk Badings, Emile Bernard, Henry Brant
Table 14
Quantity of Citations as a Function of Composer and Tier Category (>20 citations)
Tier
Composer 1 2 3 4 F Total
Stravinsky, Igor 29 53 8 37 26 153
Varese, Edgard 15 20 2 18 18 73
Grainger, Percy 20 7 8 21 0 56
Holst, Gustav 12 9 13 17 1 52
41
Table 14 (continued)
Quantity of Citations as a Function of Composer and Tier Category (>20 citations)
Tier
Composer 1 2 3 4 F Total
Persichetti, Vincent 9 16 10 16 0 51
Husa, Karel 15 11 6 9 1 42
Messiaen, Olivier 6 10 4 8 9 37
Benson, Warren 14 0 4 18 0 36
Hindemith, Paul 13 4 3 11 5 36
Schuman, William 10 6 8 4 0 28
Vaughan Williams, 6 7 7 5 0 25
Weill, Kurt 4 5 2 7 6 24
Honegger, Arthur 1 7 1 6 6 21
When focusing on just Tier One analytical research, research on Stravinsky’s compositions still
garnered the most citations (n=29). Research of eleven additional composers each included
greater than 7 citations (Table 15). Nine composers have no Tier One wind band research: Emile
Bernard, Johannes Brahms, Charles Gounod, Nikolai Lopatnikoff, Gustav Mahler, Willem van
Table 15
Quantity of Tier One Citations as a
Function of Composer (>7 citations)
Composer Tier 1
Citations
Stravinsky, Igor 29
Grainger, Percy 20
Husa, Karel 15
42
Table 15 (continued)
Quantity of Tier One Citations as a
Function of Composer (>7 citations)
Composer Tier 1
Citations
Varese, Edgard 15
Benson, Warren 14
Hindemith, Paul 13
Holst, Gustav 12
Schuman, William 10
Persichetti, Vincent 9
Schoenberg, Arnold 8
Schwantner, Joseph 8
composition. The most citations found for one composition (n=60) referenced Igor Stravinsky’s
Symphony of Psalms. Research of eight additional compositions each included greater than 20
citations (Table 16). One work lacked any analytical research as defined by this study: Leslie
Table 16
Quantity of Citations as a Function of Composition and Tier (>20 citations)
Tier
Composer Composition 1 2 3 4 F Total
Stravinsky, Igor Symphony of Psalms 6 24 3 20 7 60
Varese, Edgard Integrales 7 8 1 9 10 35
Stravinsky, Igor Symphonies of Wind 9 5 4 8 6 32
Instruments (orig/Rev)
43
Table 16 (continued)
Quantity of Citations as a Function of Composition and Tier (>20 citations)
Tier
Composer Composition 1 2 3 4 F Total
Stravinsky, Igor Mass for Chorus and Double 4 15 0 2 9 30
Wind Quintet
Persichetti, Symphony No. 6, Op. 69 7 8 4 10 0 29
Vincent
Holst, Gustav Suite No. 1 in E‐flat 5 8 5 8 0 26
Grainger, Percy Lincolnshire Posy 11 4 3 7 0 25
Hindemith, Symphony in B‐flat 9 3 2 7 1 22
Paul
Honegger, Arthur Le Roi David 1 7 1 6 6 21
(17, soloists, chorus)
Analytical research on individual compositions was also categorized into Tiers. Research
refering to Percy Grainger’s Lincolnshire Posy gnered the most citations (n=11). Research of
eight additional compositions each included greater than five Tier One citations (Table 17).
Table 17
Quantity of Tier One Citations as a Function of Composition (>5 citations)
Tier 1
Composer Composition Citations
Grainger, Percy Lincolnshire Posy 11
Hindemith, Paul Symphony in B‐flat 9
Stravinsky, Igor Symphonies of Wind Instruments (original & 9
revised editions)
Schoenberg, Arnold Theme and Variations, Op. 43a 8
Stravinsky, Igor Concerto for Piano and Wind Instruments 8
Persichetti, Vincent Symphony No. 6, Op. 69 7
Varese, Edgard Integrales 7
Schuman, William New England Triptych 6
Stravinsky, Igor Symphony of Psalms 6
44
There are twenty compositions with no citations classified as Tier One research (Table 18).
Table 18
Core Repertoire without Tier One Research
Composer Composition
Bassett, Leslie Concerto Grosso (brass quintet, wind ensemble & percussion)
Benson, Warren Concertino (alto sax and wind ensemble)
Benson, Warren The Solitary Dancer
Bernard, Emile Divertissement pour Instruments a Vent op. 36
Brahms, Johannes Begrabnisgesang, Op. 13 (choir, woodwinds and brass)
Copland, Aaron An Outdoor Overture
Gounod, Charles Petite Symphonie in B‐flat, "Little Symphony for Winds" (octet
and flute)
Hindemith, Paul Geschwindmarsch from Symphony Serena
Husa, Karel Apotheosis of this Earth
Lopatnikoff, Nikolai Concerto for Wind Orchestra, Op. 41
Mahler, Gustav "Um Mitternacht" from Aus den Ruckert Lieder
Messiaen, Olivier Oiseaux Exotiques (piano and wind orchestra)
Persichetti, Vincent Masquerade for Band, Op. 102
Poulenc, Francis Suite Francaise (2 harps & 9 winds)
Rodrigo, Joaquin Adagio
Schmitt, Florent Lied et Scherzo, op. 54 (horn and wind ensemble)
Schuller, Gunther Symphony for Brass and Percussion
Tippett, Michael Concerto for Orchestra ‐ Mosaic
Van Otterloo, Willem Symphonietta for Woodwinds
45
CHAPTER 5
DISCUSSION
The purpose of this project was to identify relevant analytical research on wind band core
repertoire. This project sought to answer the following research questions. 1) How much
research is available on compositions that our profession has deemed to be of serious artistic
merit? 2) What taxonomy can be developed to analyze the depth of a research article? 3) What
type and to what depth are the analyses on each work? 4) What compositions have been
The data indicated a continuing and growing body of analytical literature regarding
compositions for wind ensemble. Almost 1,000 citations mention one of 107 works considered
as core repertoire. Research appeared in many forms and varying depths, suggesting the need to
develop a taxonomy based on format and content. While format primarily determined the
classification of research into one of five tiers, the data suggested that content be considered to
discovered in languages other than English were separated as such. Tier one represents peer-
reviewed research that is published at the highest respected version of its format (journals or
university research). Tier two represents less-established versions of such peer-reviewed research.
Tier three represents non-peer-reviewed research, which may or may not be edited by respected
members of the community. Tier four represents research that is peripherally related to the
composition, but may appear in any format. Utilizing these four categories, research can then be
46
Based on the tiered taxonomy, it is possible to analyze the depth of research for each
work and across the breadth of the core repertoire (Figure 1). While Tier four citations (truncated
or peripheral treatment of the composition) are categorically the largest proportion of the
research (31%), the next most substantial category (tier one) represents the most respected and
in-depth analyses (27%). Over one-fourth of research in the field has been published in the most
The amount of analytical research on each composition ranges from nothing at all
(Bassett’s Concerto Grosso) to a substantial amount of literature (n=60) mentioning one work
(Stravinsky’s Symphony of Psalms). There exists a notable percentage (19%) of core repertoire
General Discussion
There are many ways to identify analytical research on wind repertoire. In order to
achieve the most success, the data suggested referencing Allen’s (2006) dissertation, and the
47
Google Scholar, Worldcat and RILM search engines. Each source identified some research in
over half of the referenced compositions. However, the process of this research revealed the
usefulness of looking at other sources not linked to such search engines, such as the Teaching
Music Through Performance series and the Journal of Band Research. Both references contained
a notable amount of research in one location. The former is more accessible to a larger audience
and the latter is a highly regarded research journal. Rodney Winther’s book of chamber music
annotations should also be noted, as it has included all of the core repertoire compositions that
met his inclusion criteria (6-18 players). From these and other sources, a substantial amount of
Authorship
Examining the extensive research on wind band music, data regarding authorship
provides evidence for a commitment to continued scholarship in the field. As the genre of artistic
wind music has developed through the college wind band tradition, the greatest proportion of
professors. Likewise, the wind band conducting community authors the large body of journal-
published research. A notable addition is seen in those works that cross the traditional boundaries
of the wind band genre. Soloists or vocalists will often author research on such repertoire. While
university-based authorship provides the single largest base for wind scholarship in journals,
dissertation and thesis documents, additional publication formats provide another source for
analytical scholarship.
Print Sources
Edited books and book series have made analytical research available to the wider
population of wind conductors, especially outside of higher education. While not considered as
48
in-depth as highly regarded journals or university research, these sources have highlighted
compositions that may otherwise be lost to the world. Richard Miles’ (Ed.) Teaching Music
through Performance in Band series, Rodney Winther’s An Annotated Guide to Chamber Music
and Chad Nicholson’s Guide to the Top One Hundred Works in Grades IV, V, VI are three
sources that together exhibit 120 citations of wind band core repertoire analytical research. Print
sources, journal articles and university-authored research suggest format to be one legitimate
Taxonomy
The taxonomy’s five categories enabled research to be sorted by empirical means (Appendix E).
Format first enabled the separation of peer-reviewed (Tier one and two) and non-peer-reviewed
(Tier three) research. Further categorization could be made where a level of respect for some
research necessitated a second delineation for peer-reviewed documents (Tier one versus Tier
two). Delineation was also needed in examining the content of each published article:
deciphering peripheral or truncated treatments (Tier four) from primary treatments of the
composition (Tier one, two or three). Many citations referenced annotations or utilized the
composition as a means to another topic, and were categorized as such (Tier four). Foreign
language articles were separated from analysis a priori (Tier F). The categories not only allow for
analyzing the depth of research on a composition, but also for the performer looking for varied
depth of analysis of a particular work. Detailed analysis of citation quantity and category as
related to the compositions and composers may provide information for students and research
49
Composers
There is a disparity in the amount of analytical research regarding each composer. Some
of the 57 referenced composers are well-researched in the literature. Stravinsky stands out in
particular. His works are mentioned in 153 citations, 29 of which are considered to be Tier one.
Other well-researched composers include Edgard Varèse, Percy Grainger, Gustav Holst, Vincent
Persichetti, Karel Husa, Olivier Messiaen, Warren Benson, Paul Hindemith and William
Schuman (Table 12, p. 40). While every composer is mentioned at least once in the literature,
several composers are listed with just the one citation: Henk Badings, Emile Bernard, Henry
Brant, Bernard Gilmore and Michael Tippett. When focusing on Tier one research, there are nine
composers without such analytical research associated with their wind-specific works. This
indicates that only a passing or annotated reference exist for core repertoire works of these
composers. This discussion must also take into account that the 57 composers did not contribute
equally to the list of core repertoire. When analyzing the data in reference to the number of
works each composer contributed, the data indicate a sizeable range of citations per piece. The
works of Stravinsky still collect the most references, averaging 25.5 citations per compositions.
However, nearly a fourth of the composers have less than three citations per composition. When
looking at Tier one research, half of the compositions have less than two such citations per piece.
More detailed observation of these data include a look at the research for each individual work in
Compositions
The depth and treatment of core repertoire analytical research crosses a broad spectrum.
Appendix F includes a complete listing of citations found for core repertoire, with annotations
for each Tier one reference. By far, the most researched piece of literature is Igor Stravinsky’s
50
Symphony of Psalms, with 60 separate citations referencing the work. It does not, however,
include the most Tier one citations for one work. That honor goes to Percy Grainger’s
Lincolnshire Posy, making this the most in-depth researched work of the wind band core
repertoire. On the opposite side of the spectrum, no citations were found for Leslie Bassett’s
Concerto Grosso. Perhaps, this indicates the first piece that should be addressed by future
research. Along such lines, 20% of the core repertoire have only been researched two or fewer
times. Similarly, there are twenty pieces (19%) that have not been researched at the Tier one
level. This evidence provides both hope and concern regarding literature this profession values as
Relationship to Literature
The literature asserts that the inception of the Eastman Wind Ensemble was a
monumental event in the development of repertoire for the wind band medium (Vagner, 1970;
Hunsberger, 1972 & Billingsley, 1975). Data retrieved from the Towner (2011) may confirm this
theory. Of the 107 compositions selected as core repertoire for this study, 50 were composed
during the 39 year period between 1950 and 1989 (Figure 1). However, the data also shows a
substantial bulk of repertoire composed in the first half of the twentieth century (n=47).
51
David Whitwell (1972) charged college band directors to pursue scholarship from a
“historical perspective, intuitive vision, aesthetic logic and didactic integrity.” Whether this
charge was the cause or an indication of changing attitudes within the profession, the data
indicates continued growth in analytical research throughout the last 70 years (Figure 3).
Perhaps the profession as a whole has embraced this charge in order to meet Frederick
Fennell’s 1979 concern regarding the study of quality literature: “With the exception of a few
recordings and an occasional article, the bulk of thought on the performance of the band’s
literature has been spoken from podiums by inspired conductors through the years … and is now
totally lost to the profession as a whole, remaining only in the fond--but often dim memories of
Further data examination in terms of the taxonomy indicates a shift in how such research
is published. Format and content core repertoire research has shifted in the last twenty years. Tier
one and Tier two research (journals and university research) peaked in the 1980’s and has fallen
52
as the publication of books (collections of analytical research and annotations) has increased
(Figure 4). A possible explanation for this trend may be a reflection of the composition dates, as
the most recent work considered core repertoire was published in 1989.
Lack of research on certain pieces could be due to lack of performances and/or lack of
access to scores and parts. In Garafolo’s review (1980) of Ostling’s 1978 study, he mentioned
that over a third of the compositions was available only for rental, were out of print and/or only
Limitations
The results of this research should be taken with caution as several limiting factors may
affect the outcome. This project was limited to 107 works defined as core repertoire. Towner
(2011) identified an additional list of compositions just below the cutoff for serious artistic merit
as works that may deserve further consideration. The scope of this project necessitated searching
a limited number of research databases search engines and print sources. While efforts were
53
made to search with broad parameters, some sources were not searched a priori, such as compact
disc liner notes, unpublished sources, compilations of program notes, and composer biographies.
Database key word searching and foreign language spellings may have prevented the
During the course of the data collection, some sources were reprinted in similar or
different formats. Selected articles in the CBDNA Journal were reprinted in The Wind Band and
Its Repertoire, edited by Michael Votta. Some articles in The Instrumentalist were reprinted later
in the same journal, and again in a separate book published by the company. The first volume of
the Teaching Music Through Performance in Band series was recently published in a second
edition, where articles were expanded and attributed to their authors. These reprints were labeled
as such, but were treated as separate citations in the course of data analysis, which may have
the taxonomy was not designed to make value judgments on the quality of research. Secondly,
assumptions were made that in university-based research, doctoral-level documents were more
journal research was classified into two categories. While experts in the field determined a
journal’s category, there was a limited sample size and a limited area of expertise in determining
assumption was made that peer-reviewed research is valued differently than edited print
publications. Due to the availability of print sources for some audiences, especially those outside
of higher education, this assumption may not hold true. Limiting foreign language documents a
54
priori may have confounded the results. Such documents may represent valuable contributions to
Categorization may also have been clouded by lack of access to complete research
documents. While efforts were made to locate and refer to the entirety of a research document,
documents could not be located for 30% of the citations found in this research. In such cases, the
included abstract or title of the research may have been inadequate to accurately categorize such
documents.
Several implications have been revealed over the course of this research. While the
understanding the repertoire it values, it also indicates possible continuity gaps in how the
profession has approached such research. These data may provide a resource for conductors and
a source of information guiding future research, and a call to make current research more
Resource
The results of this project include a categorized and annotated resource for locating and
discussing relevant research regarding the wind band repertoire that is considered to be of the
highest artistic value. This resource may be of value to professors in the field not only as a
resource for identifying and utilizing such resource, but as a source for directing their students to
55
Taxonomy
The provided taxonomy may be used to help categorize research in other genres,
including the choral and orchestral fields. The results of the categorizations may help wind
conductors locate and utilize relevant literature to program or to study. Additionally, with this
addition to the body of research as to what is artistically meritorious band music, perhaps it will
introduce unknown compositions by way of access to the research, and encourage future
Future Research
The data also provides empirical evidence as to where additional research can be focused
to address those compositions that the wind band profession holds in such a high regard. While
there is a growing body of research dedicated to the understanding and performance of wind
repertoire, the data indicate a noteworthy gap. These data provide a starting point for directing
future analytical research that does not reiterate extant literature, but contributes to understanding
Availability
This presents two challenges for the profession. First, for those in the collegiate-level system,
with access to the databases and sources used in this research, access will be approximately the
same as found in this document. However, the lack of ready access to master-level theses (18%
of such documents were available) is of particular concern. Many of these may be available via
Interlibrary Loan, however, the acquisition of these documents is not close to the level of access
for doctoral-level research. Additionally, older issues of the Journal of Band Research are not
linked to any standard database search engine, which requires purchase of the .pdf archives both
56
to search and read articles. This lack of inclusion limits the accessibility of a large portion of
important research in this field. Similarly, while The Instrumentalist is included in database
searches, yet online versions of these articles do not exist. These date suggest a second challenge
to the profession regarding a lack of accessibility to wind conductors outside of the university
system. Recent publication of books on analytical research have made a significant contribution
library collections. This is especially true for Tier one research in the form of doctoral-level
dissertations. The average high school band director has access to very little of this research.
research in this area could include those compositions that came close to being considered of
serious artistic merit in the combination of the Towner, Gilbert and Ostling studies. Such
research could not only refine the categorization techniques used in this study, but also provide a
Future research could explore additional database search engines, composer biographies,
performance reviews, compact disc liner notes and collections of program notes. Harold
comparison of sketches, descriptive commentary, record reviews and general remarks, and
performance notes. Research on the biography and compositional style of each of the 57
composers could be included as an addendum to such a study. Such research could also annotate
all the references included in this and future studies, providing a more comprehensive resource in
57
Additional research could also cross reference the three current forms of repertoire
research; artistic merit, programming, and analytical. The list of works from the Towner study
could compare the results of this line of inquiry with results of research detailing programming
history at the collegiate wind band level to shed light on the subject of defining a standard
Conclusion
The amount of analytical research that has been completed over the past eighty years on
works that the wind band profession considers to be of the highest caliber is substantial. There is
profession’s core repertoire. Such research can be cataloged and sorted to better understand the
depth and breadth of the field of study. Data have shown both a plethora of research on some
composers and compositions, and a stark lack of interest for others. This project has attempted to
further develop a line of research that will encourage and aid supervising professors and their
58
APPENDIX A
Table 19
Journals Publishing Analytical Research of Core Repertoire
Journals Language # Citations Highly Regarded
Acta Musicologica F 1
Acustica E 1
Amor E 1
Analyse Musicale F 2
Archiv Fur Musikwissenschaft F 5
Australasian Music Research E 1
Band E 2
BDGuide E 8
Canadian Winds F 2
CBDNA Journal E 10
Chant Choral E 1
Choir Magazine F 1
Choral Journal E 4
Chord and Dischord E 1
College Music Symposium E 1
Contemporary Music Review E 1
Danish Yearbook For Music Research F 1
Dutch Journal of Music Theory F 1
Ex Tempore E 2
Gregoriusblad F 1
Hamburger Jahrbuch fur Musikwissenschaft F 1
Hindemith‐Jahrbuch/Annales Hindemith F 1
In Theory Only E 3
Instrumentalist E 48
International Jazz Archives Journal E 1
International Review Of The Aesthetics And E 1
Sociology Of Music
Iskusstvo i Obrazovanie F 1
Journal of Band Research E 51
Journal of Music Theory E 1
Journal of the Conductors Guild E 6
Kurt Weill Newsletter E 1
59
Table 19
Journals Publishing Analytical Research of Core Repertoire
Journals Language # Citations Highly Regarded
L'education Musicale F 1
Table 19 (continued)
Journals Publishing Analytical Research of Core Repertoire
Journals Language # Citations Highly Regarded
Magazine for Music Theory E 1
Melos F 3
Miscellanea Musicologica E 2
Mitteilungen der Paul Sacher Stiftung F 2
Music Analysis E 2
Music and Korea F 1
Music Educators Journal E 3
Music Review E 5
Music Teacher E 2
Music Theory Pedagogy E 1
Music Theory Spectrum E 4
Musical Quarterly E 6
Musical Times E 3
Musicale Suisse F 2
Musik & Bildung F 1
Musik und Kirche F 4
Musurgia F 2
Muzyka F 1
NACWPI Journal E 1
Nassarre F 1
Neue Zeitschrift fur Musik F 3
Osterreichische Musikzeitscrift F 1
Peabody Essays in Music History E 1
Percussionist E 1
Perspectives of New Music E 10
Revue De Musicologie F 1
Schweizerische Musikzeitung F 1
Sonorum Speculum E 1
Sonus E 1
South African Journal of Art History E 1
Sovetskaâ Muzyka F 1
60
Table 19 (continued)
Journals Publishing Analytical Research of Core Repertoire
Journals Language # Citations Highly Regarded
Studia Musicologica F 3
Studies in Music E 1
Tempo E 4
The Grainger Society Journal E 1
Theory and Practice E 2
Transfiguration E 1
Violin Society E 1
WASBE Journal E 2
Winds E 5
Winds Quarterly E 2
Yueqi F 1
Note: “E” indicates a publication in English. “F” indicated a publication in a language other than English
61
APPENDIX B
Table 20
Core Repertoire: Alphabetical List by Composer
Composer Composition
Amram, David King Lear Variations
Badings, Henk Concerto for Flute and Wind Symphony
Bassett, Leslie Concerto Grosso
(brass quintet, wind ensemble and percussion)
Bassett, Leslie Designs, Images and Textures
Bassett, Leslie Sounds, Shapes and Symbols
Bennett, Robert Russell Suite of Old American Dances
Benson, Warren Concertino
(alto saxophone and wind ensemble)
Benson, Warren Symphony for Drums and Wind Ensemble
Benson, Warren Symphony II, Lost Songs
Benson, Warren The Leaves are Falling
Benson, Warren The Passing Bell
Benson, Warren The Solitary Dancer
Berg, Alban Chamber Concerto, Op. 8
(piano, violin and 13 winds)
Berlioz, Hector Symphonie Funebre et Triomphale
Bernard, Emile Divertissement pour Instruments a Vent op. 36
Brahms, Johannes Begrabnisgesang, Op. 13
(choir, woodwinds and brass)
Brant, Henry Angels and Devils
(flute choir)
Bruckner, Anton Mass No. 2 in E Minor
Colgrass, Michael déjà vu
(4 percussion soloists and wind ensemble)
Colgrass, Michael Winds of Nagual
Copland, Aaron An Outdoor Overture
Copland, Aaron Emblems
Corigliano, John Gazebo Dances
Dahl, Ingolf Concerto for Alto Saxophone and Wind Ensemble
Dahl, Ingolf Sinfonietta for Band
Dello Joio, Norman Variants on a Medieval Tune
Druckman, Jacob Engram from Prism
Dvorak, Antonin Serenade in D minor, Op. 44
62
Etler, Alvin Concerto for Clarinet and Chamber Ensemble
Table 20 (continued)
Core Repertoire: Alphabetical List by Composer
Composer Composition
Gilmore, Bernard Five Folk Songs for Soprano and Band
Gould, Morton Symphony No. 4 (West Point Symphony)
Gounod, Charles Petite Symphonie in B‐flat
Grainger, Percy Colonial Song
Grainger, Percy Hill Song No. 1
(14 instruments)
Grainger, Percy Hill song No. 2
Grainger, Percy Irish Tune from County Derry
Grainger, Percy Lincolnshire Posy
Hahn, Reynaldo Le Bal de Beatrice d'Este
Harbison, John Music for 18 Winds
Hindemith, Paul Concerto for Organ and Wind Instruments
Hindemith, Paul Geschwindmarsch from Symphony Serena
Hindemith, Paul Konzertmusik, Op. 41
Hindemith, Paul Symphony in B‐flat
Holst, Gustav Hammersmith, op. 52
Holst, Gustav Suite No. 1 in E‐flat
Holst, Gustav Suite No. 2 in F
Honegger, Arthur Le Roi David
Husa, Karel An American Te Deum
(voice, choir and band)
Husa, Karel Apotheosis of this Earth
Husa, Karel Concerto for Alto Saxophone and Concert Band
Husa, Karel Concerto for Percussion and Wind Ensemble
Husa, Karel Concerto for Trumpet and Wind Ensemble
Husa, Karel Music for Prague 1968
Jacob, Gordon William Byrd Suite
Kurka, Robert The Good Soldier Schweik Suite, Op. 22
Lopatnikoff, Nikolai Concerto for Wind Orchestra, Op. 41
Mahler, Gustav "Um Mitternacht" from Aus den Ruckert Lieder
Maslanka, David A Child's Garden of Dreams
Mendelssohn, Felix Ouverture fur Harmoniemusik, Op. 24
Messiaen, Olivier Colors of the Celestial City
Messiaen, Olivier Oiseaux Exotiques
(piano and wind orchestra)
Messiaen, Olivier Resurrectionem Mortuorum
Milhaud, Darius Suite Francaise, Op. 248
63
Table 20 (continued)
Core Repertoire: Alphabetical List by Composer
Composer Composition
Mozart, Wolfgang Divertimento No. 3 in E‐flat, K166
Mozart, Wolfgang Divertimento No. 4 in B‐flat, K186
Mozart, Wolfgang Serenade No. 10 in B‐flat K361
Penderecki, Krzystztof Pittsburgh Overture
Persichetti, Vincent Divertimento for Band, Op. 42
Persichetti, Vincent Masquerade for Band, Op. 102
Persichetti, Vincent Symphony No. 6, Op. 69
Poulenc, Francis Suite Francaise
(2 harps and 9 winds)
Reed, H. Owen La Fiesta Mexicana
Reynolds, Verne Scenes
Rodrigo, Joaquin Adagio
Schmitt, Florent Dionysiaques, Op. 62
Schmitt, Florent Lied et Scherzo, op. 54
(horn and wind ensemble)
Schoenberg, Arnold Theme and Variations, Op. 43a
Schuller, Gunther On Winged Flight: A Divertimento for Band
Schuller, Gunther Symphony for Brass and Percussion
Schuller, Gunther Symphony No. 3, In Praise of Winds
Schuman, William George Washington Bridge
Schuman, William New England Triptych
Schwantner, Joseph …and the mountains rising nowhere
Schwantner, Joseph From a Dark Millennium
Strauss, Richard Festmusik der Stadt Wien, AV 133
(brass & timpani)
Strauss, Richard Serenade Op. 7
Strauss, Richard Sonatine in F "Aus der Werkstatt eines invaliden”
Strauss, Richard Suite in B‐flat, Op. 4
Strauss, Richard Symphonie for Winds "Frolich Werkstatt" AV 143
Stravinsky, Igor Concerto for Piano and Wind Instruments
Stravinsky, Igor Ebony Concerto
Stravinsky, Igor Mass for Chorus and Double Wind Quintet
Stravinsky, Igor Symphonies of Wind Instruments (Original 1920)
Stravinsky, Igor Symphonies of Wind Instruments (Revised 1943)
Stravinsky, Igor Symphony of Psalms
Tippett, Michael Concerto for Orchestra ‐ Mosaic
Van Otterloo, Willem Symphonietta for Woodwinds
Varese, Edgard Deserts
Varese, Edgard Hyperprism
64
Table 20 (continued)
Core Repertoire: Alphabetical List by Composer
Composer Composition
Varese, Edgard Integrales
Vaughan Williams, Ralph English Folk Song Suite
Vaughan Williams, Ralph Toccata Marziale
Wagner, Richard Trauersinfonie
Weill, Kurt Concerto for Violin, Op. 12
Weill, Kurt Das Berliner Requiem
(voice and winds)
Weill, Kurt Little Threepenny Music
Weill, Kurt Mahagonny Songspiel
(6 voices and wind ensemble)
65
APPENDIX C
Table 21
Colleges and Universities Overseeing Analytical Research of Core Repertoire
Doctoral‐level Non‐Doctoral‐
School Citations level Citations Total
Alabama 1 0 1
Arizona 15 0 15
Arizona State 3 0 3
Arkansas State 0 1 1
Ball State 8 3 11
Baylor 0 2 2
Belmont 0 2 2
Bowling Green State 0 4 4
Brandeis 2 0 2
Brigham Young 0 1 1
British Columbia 0 1 1
Butler 0 2 2
California State, Fullerton 0 7 7
California State, Long Beach 2 2 4
California, Berkeley 2 0 2
California, San Diego 2 0 2
California, Santa Barbara 2 0 2
Case Western Reserve 1 0 1
Central Washington 0 4 4
Chinese U., Hong Kong 0 1 1
Cincinnati 31 0 31
City College of New York 0 1 1
Columbia 1 0 1
Connecticut 1 0 1
Cornell 2 2 4
Duquesne 1 0 1
Eastern Illinois 0 1 1
Eastern Kentucky 0 1 1
Eastern Michigan 0 1 1
Florence 0 1 1
Florida 10 0 10
Florida State 35 4 39
66
Table 21
Colleges and Universities Overseeing Analytical Research of Core Repertoire
Doctoral‐level Non‐Doctoral‐
School Citations level Citations Total
Frankfurt 1 0 1
Table 21 (continued)
Colleges and Universities Overseeing Analytical Research of Core Repertoire
Doctoral‐level Non‐Doctoral‐
School Citations level Citations Total
Georgia 2 1 3
Georgia State 0 1 1
Harvard 0 2 2
Hawaii 0 2 2
Houghton 0 1 1
Houston 1 0 1
Illinois 11 0 11
Indiana 3 5 8
Indiana State 0 1 1
Indiana U of Pennsylvania 0 2 2
Iowa 7 0 7
John Hopkins 1 0 1
Kansas 3 0 3
Kansas State 0 12 12
Kentucky 1 0 1
Lamar 2 0 2
Laval 0 1 1
London 1 4 5
Louisiana State 2 0 2
Louisville 1 2 3
Manhattan 2 0 2
Mankato State 0 1 1
Maryland 0 1 1
Melbourne 0 1 1
Memphis State 3 0 3
Miami 6 0 6
Michigan 3 3 6
Michigan State 5 0 5
Minnesota State, Mankato 0 2 2
Mississippi 0 1 1
Missouri, Kansas City 1 0 1
67
Table 21 (continued)
Colleges and Universities Overseeing Analytical Research of Core Repertoire
Doctoral‐level Non‐Doctoral‐
School Citations level Citations Total
Montana 1 0 1
Montreal 0 4 4
Music, Basel 0 1 1
Nan yang Tech 0 2 2
National U of Ireland 0 1 1
New Mexico State 0 2 2
New York 2 0 2
North Carolina, Chapel Hill 3 0 3
North Carolina, Greensboro 9 0 9
North Dakota 0 2 2
North Dakota State 1 0 1
North Texas 6 0 6
North Texas State 3 2 5
Northern Colorado 7 0 7
Northern Illinois 0 1 1
Northwestern 5 0 5
Northwestern State (LA) 0 1 1
Oberlin 0 1 1
Ohio 1 0 1
Ohio State 10 1 11
Oklahoma 4 2 6
Otego 0 1 1
Peabody 6 1 7
Pennsylvania 1 0 1
Pennsylvania State 0 1 1
Philadelphia Musical 0 1 1
Academy
Rice 0 2 2
Rochester 8 3 11
Rollins 0 2 2
Rutgers 0 1 1
Salzburg 1 0 1
Sam Houston State 0 2 2
San Francisco State 0 1 1
Sheffield 2 0 2
Shenandoah 1 0 1
South Carolina 1 0 1
Southern California 2 0 2
68
Table 21 (continued)
Colleges and Universities Overseeing Analytical Research of Core Repertoire
Doctoral‐level Non‐Doctoral‐
School Citations level Citations Total
Southern Maine 0 1 1
Southern Mississippi 2 1 3
Stanford 4 1 5
SUNY, Buffalo 1 0 1
Sussex 3 0 3
Texas 16 1 17
Texas A & M 0 1 1
Texas Tech 2 1 3
Texas, El Paso 0 4 4
Trenton State 0 1 1
UCLA 4 3 7
Ulster 0 1 1
Union Theological 0 2 2
Washington 9 1 10
Washington, St. Louis 1 0 1
Western State C. of Colorado 0 3 3
Wien 1 0 1
Wisconsin, Madison 4 1 5
Wisconsin, Oshkosh 0 1 1
Yale 5 0 5
69
APPENDIX D
Table 22
Print Sources Publishing Analytical Research of Core Repertoire: Chapters in Edited Books
Source N
Alban Berg: Chamber music II (1979). Germany: Kritik Munchen. 1
Berger, A. (1972). Problems of pitch organization in Stravinsky. In Perspectives on 1
Schoenberg and Stravinsky. New York: W. W. Norton.
Bernard, J. W. (1987). The music of Edgard Varese. New Haven, CT: Yale University 1
Press.
Bloom, P. A. (ed.) (2000). The Cambridge Companion to Berlioz. United Kingdom: 1
Cambridge University Press.
Blyth, A. (Ed.) (1991). Choral music on record. Cambridge, England: Cambridge 1
University Press.
Bozarth, G. D. (ed.) (1990). Brahms studies: Analytical and historical perspectives. 1
New York: Oxford University Press.
Carner, M. (1975). Alban Berg: The man and the work. New York: Holmes and 1
Meier.
Eichhorn, A. (2010). Music with solo violin by Kurt Weill: Critical report. New York: 1
Kurt Weill Foundation for Music.
Engelhardt, J. (1984). Gestus und verfremdung: Studien zum musiktheater bei 1
Strawsinsky und Brecht/Weill. Munich: Katzbichler.
Fennell, F. (1980). Basic band repertory: British band classics from the conductor's 3
point of view. Evanston, IL: The Instrumentalist.
Fennell, F. (2008). A conductor's interpretive analysis of masterworks for band. 3
Galesville, MD: Meredith Music Publications.
Fennell, F., & Neidig, K. L. (1984). The band's music: Study/performance essays. 1
Traverse City, MI: Village Press Publications.
Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith Music 6
Publications.
Garofalo, R. J. & Battisti, F. L. (2005). Lead and inspire: A guide to expressive 3
conducting. Silver Spring, MD: Whirlwind Music.
70
Table 22 (continued)
Print Sources Publishing Analytical Research of Core Repertoire: Chapters in Edited Books
Source N
Alban Berg: Chamber music II (1979). Germany: Kritik Munchen. 1
Berger, A. (1972). Problems of pitch organization in Stravinsky. In Perspectives on 1
Schoenberg and Stravinsky. New York: W. W. Norton.
Bernard, J. W. (1987). The music of Edgard Varese. New Haven, CT: Yale University 1
Press.
Bloom, P. A. (ed.) (2000). The Cambridge Companion to Berlioz. United Kingdom: 1
Cambridge University Press.
Blyth, A. (Ed.) (1991). Choral music on record. Cambridge, England: Cambridge 1
University Press.
Bozarth, G. D. (ed.) (1990). Brahms studies: Analytical and historical perspectives. 1
New York: Oxford University Press.
Carner, M. (1975). Alban Berg: The man and the work. New York: Holmes and 1
Meier.
Eichhorn, A. (2010). Music with solo violin by Kurt Weill: Critical report. New York: 1
Kurt Weill Foundation for Music.
Engelhardt, J. (1984). Gestus und verfremdung: Studien zum musiktheater bei 1
Strawsinsky und Brecht/Weill. Munich: Katzbichler.
Fennell, F. (1980). Basic band repertory: British band classics from the conductor's 3
point of view. Evanston, IL: The Instrumentalist.
Fennell, F. (2008). A conductor's interpretive analysis of masterworks for band. 3
Galesville, MD: Meredith Music Publications.
Fennell, F., & Neidig, K. L. (1984). The band's music: Study/performance essays. 1
Traverse City, MI: Village Press Publications.
Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith Music 6
Publications.
Garofalo, R. J. & Battisti, F. L. (2005). Lead and inspire: A guide to expressive 3
conducting. Silver Spring, MD: Whirlwind Music.
Helms, S. & Schneider, R. (Eds.) (1994)., Examples of works analysis: The great 1
choral works. Regensburg, Germany: Gustav Bosse.
Hinton, E. L. (2008). Conducting the wind orchestra: Meaning, gesture, and 2
expressive potential. Amherst, NY: Cambria Press.
71
Table 22 (continued)
Print Sources Publishing Analytical Research of Core Repertoire: Chapters in Edited Books
Source N
Kinder, K. W. (2000). The wind and wind‐chorus music of Anton Bruckner. Westport, 1
CT: Greenwood Press.
Leibowitz, R. (1970). Schoenberg and his school. Translated by Dika Newlin. New 1
York: Da Capo Press.
Lewis, T. P. (1991). A source guide to the music of Percy Grainger. White Plains, NY: 1
Pro/Am Music Resources.
Miles, R. (Ed.) (1997‐2012) Teaching Music Through Performance in Band (Vol. 1‐9). 69
Chicago, GIA Publications.
Mitchell, D. (1985). Gustav Mahler: Songs and symphonies of life and death. 1
London: Faber and Faber.
Mitchell, J. C. (2008). Ralph Vaughan Williams' wind works. Galesville, MD: 2
Meredith Music Publications.
Mosch, U., Boehm, G. & Schmidt, K. (Eds.) (1996). Canto d'amore: Classicism in 1
modern art and music, 1914‐1935. Basel, Switzerland: Paul Sacher Stiftung.
Nanz, D. (2003). Edgard Varèse: The Orchestral Works. Berlin: Lukas‐Verlag. 1
Neidig, K. L. (ed.) (2009). Performance‐Study Guides of Essential Works for Band. 6
Galesville, MD: Meredith Music Publications.
Paddison, M. & Deliege, I. (Eds.) (2010). Contemporary Music: Theoretical and 1
Philosophical Perspectives. Burlington VA: Ashgate Publishing.
Pople, A. (Ed.) (1997). The Cambridge Companion to Berg. Cambridge. England: 1
Cambridge University Press.
Rapp, W. (2005). The wind band masterworks of Holst, Vaughan Williams, and 6
Grainger. Galesville, MD: Meredith Music Publications.
Reich, W. (1965). Alban Berg. Translated by Cornelius Cardew. New York: Harcourt, 1
Brace and World.
Salzman, T. (Ed.) (2003‐2012). A composer's insight: Thoughts, analysis, and 6
commentary on contemporary masterpieces for wind band (Vol. 1‐5). Galesville,
MD, Meredith Music.
Simmons, W. (2011). The music of William Schuman, Vincent Persichetti, and Peter 1
Mennin: Voices of stone and steel. Lanham, MD: Scarecrow Press.
Spratt, G. K. (1987). The music of Arthur Honegger. Cork, Ireland: Cork University 1
Press.
72
Table 22 (continued)
Print Sources Publishing Analytical Research of Core Repertoire: Chapters in Edited Books
Source N
Tomaszewski, M. (Ed.) (1989). Form and expression in lyric compositions for voice, 1
1808‐1909: Interpretations. Crakow, Poland: Academy of Music in Crakow.
Ulrich, H. (1957). Music: A design for listening. New York: Harcourt, Brace. 1
Van den Toom, P. C. (1983). The music of Igor Stravinsky. New Haven, CT: Yale 1
University Press.
Vester, F. & Koenig, R. (1999). W.A. Mozart: On the performance of the works for 3
wind instruments—concertos, divertimentos, serenades, chamber music.
Amsterdam, Netherlands: Broekmans en Van Poppel.
Vlad, R. (1967). Stravinsky (Second ed.) Translated by F. Fuller & A Fuller. London: 1
Oxford University Press.
White, E. W. (1966). Stravinsky: The composer and his works. Berkeley: University 2
of California Press.
White, W. (1979). Stravinsky, the composer and his works. Berkeley: University of 1
California Press.
Zimmerschied, D. (Ed.) (1974). Perspectiven neuer Musik: Material und didaktische 1
Information. Mainz: Schott.
Table 23
Print Sources Publishing Analytical Research of Core Repertoire: Collections of Annotations
Source N
Aldrich, M. (2004). A catalog of folk song settings for wind band. Galesville, MD: 1
Meredith Music Publications.
Austin, W. W. (1966). Music in the twentieth century. New York: W. W. Norton. 1
Green J. D. (2008). A conductor's guide to nineteenth‐century choral‐orchestral 2
works. Lanham, MD: Scarecrow Press.
Hansen, P. (1967). An introduction to twentieth century music (Second ed.). Boston: 1
Allyn and Bacon.
Machlis, J. (1961). Introduction to contemporary music. New York: W. W. Norton. 1
73
Table 23 (continued)
Print Sources Publishing Analytical Research of Core Repertoire: Collections of Annotations
Source N
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI. 26
Galesville, MD: Meredith Music Publications.
Perlis, V. (1997). Annotations: A guide to the music of Aaron Copland, Volume I: 1
Orchestral works. New York: Boosey & Hawkes.
Salzman, E. (1974). Twentieth century music: An introduction (second ed.). 1
Englewood Cliffs, NJ: Prentice‐Hall.
Schuller, G. (1986). Musings: The musical world of Gunther Schuller. New York: 1
Oxford University Press.
Stedman, P. (1979). The symphony. Englewood Cliffs, NJ, Prentice‐Hall. 1
Steinberg, M. (2005). Choral masterworks: A listener's guide. New York: Oxford 1
University Press.
Watkins, G. (1987). Soundings: Music in the twentieth century. New York: Schirmer 1
Books.
Whittall, A. (1977). Music since the first world war. London, J. M. Dent and Sons. 1
Winther, R. (2004). An annotated guide to wind chamber music (p. 264). Miami, FL: 25
Warner Bros. Publications.
Young, P. M. (1971). The choral tradition. New York: W. W. Norton. 1
Table 24
Print Sources Publishing Analytical Research of Core Repertoire: Complete Books
Source N
Bailey, W. (2009). Conducting: The art of communication. New York: Oxford 1
University Press.
Battisti, F. & Garofalo, R. J. (1990). Guide to score study for the wind band 1
conductor. Galesville, MD: Meredith Music.
Garofalo, R. J. (1998). Suite Française by Darius Milhaud: A teaching‐learning unit. 1
Ft. Lauderdale, FL: Meredith Music Publications.
Halbreich, H. & Pauly, R. G. (1999). Arthur Honegger. Portland, OR: Amadeus Press. 1
74
Table 24 (continued)
Print Sources Publishing Analytical Research of Core Repertoire: Complete Books
Source N
Hill, P. & Simeone, N. (2007). Oliver Messiaen: Oiseaux Exotiques. Burlington, VT: 1
Ashgate Publishing Company.
Hinton, S. (1990). Kurt Weill: The Threepenny Opera. Cambridge: Cambridge 1
University Press.
Knight, M. D. (2007). The interpretive wind band conductor. Galesville, MD: 1
Meredith Music Publications. (OCLC No. 191913539)
O'Toole, P. A. (2003). Shaping sound musicians; An innovative approach to teaching 1
comprehensive musicianship. Chicago: GIA Publications.
Reichardt, H. (2011). The case for symphonic wind music: Paul Hindemith's 2
Konzertmusik, op. 41 for wind orchestra and his Symphony in B‐flat for concert
band. Germany: Pfau‐Verlag Saarbrucken.
Scholz, H‐G. (1961). Die form der reifen messen Anton Bruckners. Berlin: 1
Merseburger.
Voss, H. D. (1980). Arthur Honegger: Le Roi David. A contribution to the history and 1
problematic aspects of the oratorio in the 20th century. Germany: Katzbichler
Munchen.
75
APPENDIX E
Table 25
Quantity of Citations as a Function of Composer and Tier Category
Tier
Composer 1 2 3 4 F Total
Amram, David 1 1 0 2 0 4
Badings, Henk 1 0 0 0 0 1
Bassett, Leslie 4 0 2 2 0 8
Bennett, Robert 3 0 2 1 0 6
Benson, Warren 14 0 4 18 0 36
Berg, Alban 5 3 3 3 4 18
Berlioz, Hector 3 2 2 4 2 13
Bernard, Emile 0 0 0 1 0 1
Brahms, Johannes 0 0 1 2 0 3
Brant, Henry 1 0 0 0 0 1
Bruckner, Anton 2 4 1 5 4 16
Colgrass, Michael 6 0 1 3 0 10
Copland, Aaron 3 1 3 9 0 16
Corigliano, John 1 0 2 2 0 5
Dahl, Ingolf 6 0 3 7 0 16
Dello Joio, Norman 2 0 2 0 0 4
Druckman, Jacob 2 0 0 0 0 2
Dvorak, Antonin 2 3 0 2 0 7
Etler, Alvin 2 0 0 3 0 5
Gilmore, Bernard 1 0 0 0 0 1
Gould, Morton 5 0 2 1 0 8
76
Table 25
Quantity of Citations as a Function of Composer and Tier Category
Tier
Composer 1 2 3 4 F Total
Gounod, Charles 0 0 0 2 0 2
Table 25 (continued)
Quantity of Citations as a Function of Composer and Tier Category
Tier
Composer 1 2 3 4 F Total
Grainger, Percy 20 7 8 21 0 56
Hahn, Reynaldo 1 0 0 3 0 4
Harbison, John 1 0 0 2 0 3
Hindemith, Paul 13 4 3 11 5 36
Holst, Gustav 12 9 13 17 1 52
Honegger, Arthur 1 7 1 6 6 21
Husa, Karel 15 11 6 9 1 42
Jacob, Gordon 4 0 3 3 1 11
Kurka, Robert 3 0 0 2 0 5
Lopatnikoff, Nikolai 0 0 0 2 0 2
Mahler, Gustav 0 0 0 3 5 8
Maslanka, David 1 0 1 2 1 5
Mendelssohn, Felix 3 1 2 3 0 9
Messiaen, Olivier 6 10 4 8 9 37
Milhaud, Darius 3 3 3 6 0 15
Mozart, Wolfgang 6 0 0 10 3 19
Otterloo, Willem van 0 1 0 1 0 2
Penderecki, Krzystztof 3 0 0 1 0 4
77
Table 25 (continued)
Quantity of Citations as a Function of Composer and Tier Category
Tier
Composer 1 2 3 4 F Total
Persichetti, Vincent 9 16 10 16 0 51
Poulenc, Francis 0 0 0 3 0 3
Reed, H. Owen 2 1 2 4 0 9
Reynolds, Verne 1 0 1 2 0 4
Rodrigo, Joaquin 0 0 0 2 0 2
Schmitt, Florent 2 0 1 2 0 5
Schoenberg, Arnold 8 1 3 2 1 15
Schuller, Gunther 3 3 2 3 0 11
Schuman, William 10 6 8 4 0 28
Schwantner, Joseph 8 2 2 6 0 18
Strauss, Richard 5 4 0 6 0 15
Stravinsky, Igor 29 53 8 37 26 153
Tippett, Michael 0 0 1 0 0 1
Varese, Edgard 15 20 2 18 18 73
Vaughan Williams, 6 7 7 5 0 25
Wagner, Richard 1 1 5 4 1 12
Weill, Kurt 4 5 2 7 6 24
Note: F = Citations in a language other than English
78
APPENDIX F
Table 26
Quantity of Citations as a Function of Composition and Tier Category
Tier
Composer Composition 1 2 3 4 F Total
Amram, David King Lear Variations 1 1 0 2 0 4
Badings, Henk Concerto for Flute and Wind 1 0 0 0 0 1
Symphony
Bassett, Leslie Concerto Grosso (brass quintet, 0 0 0 0 0 0
wind ensemble & percussion)
Bassett, Leslie Designs, Images and Textures 1 0 1 0 0 2
Bassett, Leslie Sounds, Shapes and Symbols 3 0 1 2 0 6
Bennett, Robert Suite of Old American Dances 3 0 2 1 0 6
Russell
Benson, Warren Concertino (AS and WE) 0 0 0 1 0 1
Benson, Warren Symphony for Drums and WE 4 0 0 3 0 7
Benson, Warren Symphony II, Lost Songs 2 0 0 2 0 4
Benson, Warren The Leaves are Falling 5 0 1 4 0 10
Benson, Warren The Passing Bell 3 0 2 4 0 9
Benson, Warren The Solitary Dancer 0 0 1 4 0 5
Berg, Alban Chamber Concerto, Op. 8 (piano, 5 3 3 3 4 18
violin and 13 winds)
Berlioz, Hector Symphonie Funebre et Triomphale 3 2 2 4 2 13
Bernard, Emile Divertissement pour Instruments a 0 0 0 1 0 1
Vent op. 36
Brahms, Begrabnisgesang, Op. 13 (choir, 0 0 1 2 0 3
Johannes woodwinds and brass)
79
Brant, Henry Angels and Devils (flute choir) 1 0 0 0 0 1
Table 26 (continued)
Quantity of Citations as a Function of Composition and Tier Category
Tier
Composer Composition 1 2 3 4 F Total
Bruckner, Anton Mass No. 2 in E Minor 2 4 1 5 4 16
Colgrass, déjà vu 1 0 0 0 0 1
Michael (4 Percussionists & Wind Ensemble)
Colgrass, Winds of Nagual 5 0 1 3 0 9
Michael
Copland, Aaron Emblems 3 1 2 4 0 10
Copland, Aaron An Outdoor Overture 0 0 1 5 0 6
Corigliano, John Gazebo Dances 1 0 2 2 0 5
Dahl, Ingolf Concerto for Alto Saxophone and 2 0 0 3 0 5
Wind Ensemble
Dahl, Ingolf Sinfonietta for Band 4 0 3 4 0 11
Dello Joio, Variants on a Medieval Tune 2 0 2 0 0 4
Norman
Druckman, Jacob Engram from Prism 2 0 0 0 0 2
Dvorak, Antonin Serenade in D minor, Op. 44 2 3 0 2 0 7
Etler, Alvin Concerto for Clarinet and Chamber 2 0 0 3 0 5
Ensemble
Gilmore, Bernard Five Folk Songs for Soprano and 1 0 0 0 0 1
Band
Gould, Morton Symphony No. 4 (West Point 5 0 2 1 0 8
Symphony)
Gounod, Charles Petite Symphonie in B‐flat, "Little 0 0 0 2 0 2
Symphony for Winds"
(octet and flute)
Grainger, Percy Colonial Song 1 0 2 1 0 4
80
Table 26 (continued)
Quantity of Citations as a Function of Composition and Tier Category
Tier
Composer Composition 1 2 3 4 F Total
Grainger, Percy Hill Song No. 1 1 0 1 5 0 7
(14 instruments)
Grainger, Percy Hill song No. 2 4 1 0 3 0 8
Grainger, Percy Irish Tune from County Derry 3 2 2 5 0 12
Grainger, Percy Lincolnshire Posy 1 4 3 7 0 25
1
Hahn, Reynaldo Le Bal de Beatrice d'Este 1 0 0 3 0 4
Harbison, John Music for 18 Winds 1 0 0 2 0 3
Hindemith, Paul Concerto for Organ and Wind 2 0 0 0 0 2
Instruments
Hindemith, Paul Geschwindmarsch from Symphony 0 1 0 0 2 3
Serena
Hindemith, Paul Konzertmusik, Op. 41 2 0 1 4 2 9
Hindemith, Paul Symphony in B‐flat 9 3 2 7 1 22
Holst, Gustav Hammersmith, op. 52 4 0 3 6 1 14
Holst, Gustav Suite No. 1 in E‐flat 5 8 5 8 0 26
Holst, Gustav Suite No. 2 in F 3 1 5 3 0 12
Honegger, Le Roi David 1 7 1 6 6 21
Arthur (17 winds, soloists, chorus)
Husa, Karel An American Te Deum 1 0 0 0 0 1
(Voice, Choir and Band)
Husa, Karel Apotheosis of this Earth 0 4 2 6 0 12
Husa, Karel Concerto for Alto Saxophone and 3 1 0 1 0 5
Concert Band
Husa, Karel Concerto for Percussion and Wind 4 1 0 0 0 5
Ensemble
Husa, Karel Concerto for Trumpet and WE 2 0 0 0 0 2
81
Table 26 (continued)
Quantity of Citations as a Function of Composition and Tier Category
Tier
Composer Composition 1 2 3 4 F Total
Husa, Karel Music for Prague 1968 5 5 4 2 1 17
Jacob, Gordon William Byrd Suite 4 0 3 3 1 11
Kurka, Robert The Good Soldier Schweik Suite, Op. 3 0 0 2 0 5
22
Lopatnikoff, Concerto for Wind Orchestra, Op. 41 0 0 0 2 0 2
Nikolai
Mahler, Gustav "Um Mitternacht" from Aus den 0 0 0 3 5 8
Ruckert Lieder
Maslanka, David A Child's Garden of Dreams 1 0 1 2 1 5
Mendelssohn, Ouverture fur Harmoniemusik, Op. 3 1 2 3 0 9
Felix 24
Messiaen, Olivier Colors of the Celestial City 3 5 0 2 3 13
Messiaen, Olivier Oiseaux Exotiques 0 4 1 3 3 11
(piano and wind orchestra)
Messiaen, Olivier Resurrectionem Mortuorum 3 1 3 3 3 13
Milhaud, Darius Suite Francaise, Op. 248 3 3 3 6 0 15
Mozart, Divertimento No. 3 in E‐flat, K166 1 0 0 2 1 4
Wolfgang
Mozart, Divertimento No. 4 in B‐flat, K186 1 0 0 2 1 4
Wolfgang
Mozart, Serenade No. 10 in B‐flat K361 4 0 0 6 1 11
Wolfgang
Penderecki, Pittsburgh Overture 3 0 0 1 0 4
Krzystztof
Persichetti, Divertimento for Band, Op. 42 2 7 4 5 0 18
Vincent
82
Table 26 (continued)
Quantity of Citations as a Function of Composition and Tier Category
Tier
Composer Composition 1 2 3 4 F Total
Persichetti, Masquerade for Band, Op. 102 0 1 2 1 0 4
Vincent
Persichetti, Symphony No. 6, Op. 69 7 8 4 1 0 29
Vincent 0
Poulenc, Francis Suite Francaise 0 0 0 3 0 3
(2 harps and 9 winds)
Reed, H. Owen La Fiesta Mexicana 2 1 2 4 0 9
Reynolds, Verne Scenes 1 0 1 2 0 4
Rodrigo, Joaquin Adagio 0 0 0 2 0 2
Schmitt, Florent Dionysiaques, Op. 62 2 0 1 1 0 4
Schmitt, Florent Lied et Scherzo, op. 54 0 0 0 1 0 1
(horn and wind ensemble)
Schoenberg, Theme and Variations, Op. 43a 8 1 3 2 1 15
Arnold
Schuller, On Winged Flight: A Divertimento 1 0 0 0 0 1
Gunther for Band
Schuller, Symphony for Brass and Percussion 0 3 1 2 0 6
Gunther
Schuller, Symphony No. 3, In Praise of Winds 2 0 1 1 0 4
Gunther
Schuman, George Washington Bridge 4 3 4 0 0 11
William
Schuman, New England Triptych 6 3 4 4 0 17
William
Schwantner, …and the mountains rising nowhere 5 2 1 5 0 13
Joseph
83
Table 26 (continued)
Quantity of Citations as a Function of Composition and Tier Category
Tier
Composer Composition 1 2 3 4 F Total
Schwantner, From a Dark Millennium 3 0 1 1 0 5
Joseph
Strauss, Richard Festmusik der Stadt Wien, AV 133 1 1 0 1 0 3
(brass & timpani)
Strauss, Richard Serenade, Op. 7 1 3 0 2 0 6
Strauss, Richard Sonatina No. 1 in F “Aus der 1 0 0 1 0 2
Werkstatt eines invaliden”
Strauss, Richard Suite in B‐flat, Op. 4 1 0 0 1 0 2
Strauss, Richard Symphonie for Winds "Frolich 1 0 0 1 0 2
Werkstatt" AV 143
Stravinsky, Igor Concerto for Piano and Wind 8 5 1 2 1 17
Instruments
Stravinsky, Igor Ebony Concerto 2 4 0 5 3 14
Stravinsky, Igor Mass for Chorus and Double Wind 4 1 0 2 9 30
Quintet 5
Stravinsky, Igor Symphonies of Wind Instruments 9 5 4 8 6 32
(both original and revised versions)
Stravinsky, Igor Symphony of Psalms 6 2 3 2 7 60
4 0
Tippett, Michael Concerto for Orchestra ‐ Mosaic 0 0 1 0 0 1
Van Otterloo, Symphonietta for Woodwinds 0 1 0 1 0 2
Willem
Varese, Edgard Deserts 4 6 0 5 5 20
Varese, Edgard Hyperprism 4 6 1 4 3 18
Varese, Edgard Integrales 7 8 1 9 1 35
0
Vaughan English Folk Song Suite 3 6 4 2 0 15
Williams, Ralph
84
Table 26 (continued)
Quantity of Citations as a Function of Composition and Tier Category
Tier
Composer Composition 1 2 3 4 F Total
Vaughan Toccata Marziale 3 1 3 3 0 10
Williams, Ralph
Wagner, Richard Trauersinfonie 1 1 5 4 1 12
Weill, Kurt Concerto for Violin, Op. 12 1 3 1 1 1 7
Weill, Kurt Das Berliner Requiem 1 2 0 0 3 6
(voice and winds)
Weill, Kurt Little Threepenny Music 1 0 1 4 0 6
Weill, Kurt Mahagonny Songspiel 1 0 0 2 2 5
(6 voices and wind ensemble)
85
APPENDIX G
Tier One
Peer-reviewed Document is reviewed by a panel of experts
(and) Primary research Analysis of the composition is the primary or major
topic of the research
Tier Two
Peer-reviewed Document is reviewed by a panel of experts
(and) Primary research Analysis of the composition is the primary or major
topic of the research
86
Tier Three
Edited Document is reviewed and edited for inclusion in a
book, but not necessarily by a panel of experts such as
in a peer-reviewed journal
(and) Primary research Analysis of the composition is the primary or major
topic of the research
Tier Four
Peripheral Treatment Document may include some analysis of the
composition, but it is not the primary topic of the
research
(or) Truncated Treatment Document includes very little analysis, such as general
description as seen in an annotation or program note
87
APPENDIX H
Amram, David King Lear Variations
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 1 0 2 0 4
Tier 1 Romer, W. A. (2010). David Amram (b. 1930) analysis of selected works for
wind band: King Lear Variations, Andante and Variations on a Theme
for Macbeth, Ode to Lord Buckley (Doctoral dissertation). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 3398078)
Romer begins with the biography of David Amram, focusing on the
influences of jazz, world culture, and the work of Jack Kerouac on his
compositional style. The analysis provides an in‐depth look at King Lear
Variations, along with two other wind works. His analysis includes basic
background, and looks at the large structure and the impact of
instrumentation, harmonic movement and outside influences on each
variation. Romer concludes the document by discussing many commonalities
between the three works, highlighting instrumentation, use of percussion,
jazz and classical influence, among others, and how each piece has
contributed to the wind band repertoire.
Tier 2 Ethington, B. P. (1988). Arch structures in David Amram's King Lear Variations
(Master thesis, Baylor University). (OCLC No. 18269009)
Tier 4 Ladd, J. S. (2009). An annotated bibliography of contemporary works
programmable by wind band and orchestra (Doctoral dissertation,
Florida State University). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 3385327)
Olfert, W. D. (1992). The development of a wind repertoire: A history of the
American Wind Symphony Orchestra (Doctoral dissertation, Florida
State University). Retrieved from ProQuest Dissertations and Theses.
(UMI No. 9234241)
88
Badings, Henk Concerto for Flute and Wind Symphony
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 0 0 1
Tier 1 Clardy, M. K. K. (1980). Compositional devices of Willem Pijper (1894 ‐ 1947)
and Henk Badings (b. 1907) in two selected works, Pijper’s Sonata per
Flauto e Pianoforte (1925) and Bading’s Concerto for Flute and Wind
Symphony Orchestra (1963), a lecture recital, together with three
recitals of selected works of Bach, Vivaldi, Dahl, Francaix, and others
(Doctoral dissertation, University of North Texas). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8109345, OCLC No.
318954743)
Clardy examines the two works in terms of form, tonal language,
rhythm, motivic usage, orchestration, and innovative flute techniques. The
document also provides a background of Dutch musical culture, biographies
of Pijper and Badings, and a comparison of the two works in terms of
motives, form, tonal language and treatment of the solo instrument.
Bassett, Leslie Concerto Grosso (brass quintet, wind ensemble &
percussion)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 0 0 0
89
Bassett, Leslie Designs, Images and Textures
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 1 0 0 2
Tier 1 Davis, D. R. (1994). A performance analysis of three works for wind band by
Leslie Bassett (Doctoral dissertation). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9511316)
After a brief biography of Leslie Bassett, Davis presents analyses on
Designs, Images and Textures; Sounds, Shapes and Symbols and Colors and
Contours. Each analysis examines aspects of form and structure, development
and use of thematic material, scoring procedures as they relate to colors and
textures, contemporary notation, and conducting problems. The author also
discusses the programmatic nature of each work as it portrays thematic
material, texture, orchestration, including the use of vertical sonorities (and
specifically, timed fermatas in Sounds, Shapes and Symbols).
Tier 3 Davis, S. D. (2004). Designs, Images and Textures: Leslie Bassett. In R. Miles
(Ed.), Teaching Music Through Performance in Band (Vol. 5, pp. 732‐
738). Chicago, GIA Publications.
Bassett, Leslie Sounds, Shapes and Symbols
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 0 1 2 0 6
Tier 1 Davis, D. R. (1994). A performance analysis of three works for wind band by
Leslie Bassett (Doctoral dissertation). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9511316)
After a brief biography of Leslie Bassett, Davis presents analyses on
Designs, Images and Textures; Sounds, Shapes and Symbols and Colors and
Contours. Each analysis examines aspects of form and structure, development
and use of thematic material, scoring procedures as they relate to colors and
textures, contemporary notation, and conducting problems. The author also
discusses the programmatic nature of each work as it portrays thematic
material, texture, orchestration, including the use of vertical sonorities (and
specifically, timed fermatas in Sounds, Shapes and Symbols).
90
Bassett, Leslie Sounds, Shapes and Symbols
Mikkelson, R. C. (1993). A study of Sounds, Shapes and Symbols by Leslie
Bassett: A contemporary composition for band (Doctoral dissertation,
The University of Wisconsin ‐ Madison). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9318632, OCLC No. 37844754)
Mikkelson examines the background, relevant research, composer
biography of Sounds, Shapes and Symbols, along with an in‐depth analysis
and performance suggestions. The analysis is organized into three categories:
Formal areas, intervallic patterns and time organization. Mikkelson also
details performance issues for the conductor in areas of interpretation and
rhythmic execution. Also included is Bassett’s biography and output, an errata
list for the work, and identification of performance problems and solutions
for the players.
Mikkelson, R. C. (1996). Interpreting Leslie Basset’s Sounds, Shapes and
Symbols. Journal of the Conductors Guild, 17(2), 102‐116.
Mikkelson presents a condensed version of his 1993 dissertation in
this article. Bassets’ biography is discussed, outlining major works. Analysis is
topic based, examining unifying elements of the work regarding form,
harmonic language, gestures and interpretive issues. An analysis of each
movement follows, focusing on performance issues, and discussing phrasing,
tonality and the use of primary gestures. The article includes an errata list for
both score and parts.
Tier 3 Tracz, F. C. (2000). Sounds, Shapes and Symbols, Leslie Bassett. In R. Miles
(Ed.), Teaching Music Through Performance in Band (Vol. 3, pp. 543‐
546). Chicago, GIA Publications.
Tier 4 Johnson, C. J. L. (2005). An annotated collection of twentieth century wind
band excerpts for trumpet (Doctoral Dissertation, Ohio State
University). http://rave.ohiolink.edu/etdc/view?acc_num=
osu1117571186
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
91
Bennett, Robert Russell Suite of Old American Dances
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 0 2 1 0 6
Tier 1 Fennell, F. (1979). Suite of Old American Dances. The Instrumentalist, 34(2),
28‐40.
Fennell presents an introduction to Bennett’s style and contributions
to the musical world, followed by a descriptive analysis of each movement in
the Suite. Very detailed analysis includes background on the stylistic dances,
instrumentation and stylistic interpretation, use of compositional techniques,
and suggestions on performance issues and conducting concerns. Errata
corrections are included at the end of each movement and the discussion
includes multiple examples and commentary from the composer.
Johnson, C. E. (1969). Common musical idioms in selected contemporary wind
band music (Doctoral dissertation). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7011129)
Johnson provides a detailed analysis of eight different works which
were selected from a study presented at the fourteenth National Conference
of the College Band Directors National Association. These outlined the most
frequently programmed works between 1961‐1966. The study looks in‐depth
at the formal structure, key harmonic structure, cadence points, and phrase
structure of each composition, and provides a summary that outlines key
features across harmony, phrase, tonal structure, formal structure and
thematic materials.
Knight, M. D. (2004). An analysis of harmonic and orchestrational techniques
in Robert Russell Bennett’s Suite of Old American Dances and
Symphonic Songs for Band (Doctoral dissertation). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3139417)
Knight provides a rather extensive biography of Bennett and looks in
detail at the compositional harmonization and orchestration techniques in
two works. While the focus of the study are these two techniques, the study
addresses formal structure and further analysis. The author also discusses
and compares the band and orchestral versions of Suite of Old American
Dances from an instrumentation perspective.
92
Bennett, Robert Russell Suite of Old American Dances
Tier 3 Knight, M. D. (2010) Suite of old American Dances, Robert Russell Bennett. In
R. Miles (Ed.), Teaching Music Through Performance in Band (Vol. 1,
Second ed., pp. 715‐724). Chicago, GIA Publications.
Suite of Old American Dances, Robert Russell Bennett (1997). In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, pp. 357‐360).
Chicago, GIA Publications.
Tier 4 Mollison, M. K. (1997). Robert Russell Bennett's Suite of old American dances:
An historical perspective and errata study (Master thesis, Florida State
University). (OCLC No. 38008954)
Benson, Warren Concertino (Alto Saxophone and Wind Ensemble)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 1 0 1
Tier 4 Wagner, A. D. (2000). The life and works of Warren Benson: A descriptive
catalog (Doctoral Dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9977895)
Benson, Warren Symphony for Drums and Wind Ensemble
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 0 0 3 0 7
Tier 1 Dietz, B. W. (2004). Historical and analytical aspects of four percussion
ensemble concerti with wind symphony (Warren Benson, Toshiro
Mayuzumi, Karel Husa, Michael Colgrass) (Doctoral thesis,
Northwestern University). (OCLC No. 56555094)
Dietz examines four works for percussion and winds: Benson’s
Symphony for Drums and Wind Ensemble, Mayuzumi’s Concerto for
Percussion and Wind Orchestra, Husa’s Concerto for Percussion and Wind
Ensemble, and Colgrass’ déjà vu for percussion quartet and wind ensemble.
Each work includes a biography of the composer, an analysis of the work,
comments regarding performance issues, and a selected output involving
percussion. Analyses focus on orchestration between percussion and the
ensemble, and rhythm and meter indications. Dietz also provides an
instrumentation list and selected list of other percussion concerti with wind
ensemble.
93
Benson, Warren Symphony for Drums and Wind Ensemble
Ferguson, T. C., Jr. (1971). An analysis of four American symphonies for band
(Doctoral dissertation). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 7218224)
Ferguson provides detailed analysis of four symphonies by American
composers: Symphony for Drums and Wind Orchestra (1963) by Warren
Benson; Symphony in B‐flat (1951) by Paul Hindemith; Symphony No.4, Op.
165 (1958) by Alan Hovhaness; and Symphony for Winds and Percussion
(1958) by Thomas Beversdorf. The research provides a complete analysis, but
particularly focuses on formal structure and its use within and among the four
works. Discussion also includes a detailed look at instrumentation and
orchestration.
Ferguson, T. C., Jr. (1973). A theoretical analysis of Symphony for Drums and
Wind Orchestra by Warren Benson. Journal of Band Research, 10(1),
9‐22.
Ferguson provides a brief discussion on the genesis and premiere of
the work before looking at each movement in detail. Analysis examines the
formal structure of each movement, identifying themes, their manipulation,
and implications of tension and resolution. Further discussion focuses on
organizational devices, such as the ground and ostinatos, and includes an
examination of harmony, texture, contrast and dynamics. Orchestration and
instrumentation analysis is made as a separate topic of discussion.
Lutch, M. B. (2008). Contributions to the wind ensemble medium by three
contemporary American composers: Norman Dello Joio, Warren
Benson, and Samuel Adler (Doctoral dissertation, University of
Washington). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 3318216)
Lutch compares the contributions of three contemporary composers
to the wind ensemble medium in terms of their biographies, compositional
philosophies, styles, and approach on conducting their music. The document
includes interviews and a catalogue of each composer’s works and
recordings. Lutch analyzes representative wind works of each composer:
Dello Joio – Fantasies on a Theme by Haydn; Benson – Symphony II – Lost
Songs, Symphony for Drums and Wind Orchestra, The Passing Bell; and Adler
– Southwestern Sketches, Double Visions, Symphony No. 3, Diptych. These
analyses appear as descriptions of the works with insight from the composer,
rather than more in‐depth structural, harmonic, melodic, or rhythmic
analysis.
94
Benson, Warren Symphony for Drums and Wind Ensemble
Tier 4 George, R. G., Jr. (1995). An analysis of the compositional techniques used in
selected wind works of Warren Benson (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9538260)
Lutch, M. (2006). Warren Benson. In T. Salzman (Ed.), A composer's insight:
Thoughts, analysis, and commentary on contemporary masterpieces
for wind band (Vol. III). Galesville, MD, Meredith Music Publications.
Wagner, A. D. (2000). The life and works of Warren Benson: A descriptive
catalog (Doctoral Dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9977895)
Benson, Warren Symphony II, Lost Songs
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 0 2 0 4
Tier 1 George, R. G., Jr. (1995). An analysis of the compositional techniques used in
selected wind works of Warren Benson (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9538260)
George analyzes six works of Warren Benson, including The Leaves are
Falling, Symphony for Drums and Wind Orchestra, Recuerdo, The Solitary
Dancer, Shadow Wood, and Symphony II – Lost Songs. Rather than individual
analyses of each work, the research is organized into chapters that use
examples of each work when describing timbral considerations, tone color
and melody, harmony, and rhythm and time. The work culminates with an in‐
depth analysis of Symphony II – Lost Songs, then provides conclusions about
the composer’s use of melodic and harmonic material via pitch selections,
instrumentation, rhythmic and structural organization.
95
Benson, Warren Symphony II, Lost Songs
Lutch, M. B. (2008). Contributions to the wind ensemble medium by three
contemporary American composers: Norman Dello Joio, Warren
Benson, and Samuel Adler (Doctoral dissertation, University of
Washington). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 3318216)
Lutch compares the contributions of three contemporary composers
to the wind ensemble medium in terms of their biographies, compositional
philosophies, styles, and approach on conducting their music. The document
includes interviews and a catalogue of each composer’s works and
recordings. Lutch analyzes representative wind works of each composer:
Dello Joio – Fantasies on a Theme by Haydn; Benson – Symphony II – Lost
Songs, Symphony for Drums and Wind Orchestra, The Passing Bell; and Adler
– Southwestern Sketches, Double Visions, Symphony No. 3, Diptych. These
analyses appear as descriptions of the works with insight from the composer,
rather than more in‐depth structural, harmonic, melodic, or rhythmic
analysis.
Tier 4 Lutch, M. (2006). Warren Benson. In T. Salzman (Ed.), A composer's insight:
Thoughts, analysis, and commentary on contemporary masterpieces
for wind band (Vol. III). Galesville, MD, Meredith Music Publications.
Wagner, A. D. (2000). The life and works of Warren Benson: A descriptive
catalog (Doctoral Dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9977895)
96
Benson, Warren The Leaves are Falling
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 0 1 4 0 9
Tier 1 Hunsberger, D. (1984). Analysis: A discussion with Warren Benson – The
Leaves Are Falling. CBDNA Journal, 1(1), 7‐17.
Reprinted: Hunsberger, D. (2003). The Leaves are Falling: A discussion with
Warren Benson. In M. Votta (Ed.), The Wind Band and Its Repertoire
(pp. 8‐21). Miami, FL: Warner Brothers Publications.
Hunsberger transcribes an interview with Warren Benson regarding
the genesis, structure, conducting issues, and performance issues of The
Leaves are Falling. The research presents answers to structural, harmonic and
gestural information as well as orchestration, performance and textural
questions. The body does not include a step‐by‐step analysis of the work, but
does include musical examples to illustrate discussion points.
Renshaw, J. H. (1993). Conducting Warren Benson’s The Leaves are Falling.
The Instrumentalist, 47(8), 30‐34, 36, 38.
Renshaw briefly discusses the compositional work of Benson, and
details the inspiration of the work as a memorial to the Kennedy
assassination, a Rilke poem Autumn, and the hymn Eine Feste Burg. Analysis
discusses motives, their manipulation via melodic cells and the juxtaposition
of the hymn tune. Discussion as to the importance of pitch tension, cadence
points and multiple levels of rhythm are followed by commentary on timbre,
dynamics, atmosphere. Explanation of notation and performances challenges
are included, as well as a formal structural diagram.
Tucker, R. L. (2001). A historical examination of the hymn tune: Ein Feste Burg,
and its treatment in selected twentieth‐century concert band literature
(Doctoral dissertation, Texas Tech University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3030372)
Within a much larger discussion of the use of the hymn tune: Ein Feste
Burg, Tucker looks for specific instances in The Leaves are Falling, providing
detailed harmonic, orchestration, and textural context. Each instance is
discussed in context of the timeline of the work, and suggestions are made as
to the purpose of each statement. The research does not provide in‐depth
analysis of the entire work, but does provide musical examples.
97
Benson, Warren The Leaves are Falling
Yun, S. (1990). Warren Benson’s The Leaves are Falling for wind ensemble
(Doctoral dissertation, University of Rochester). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9029463, OCLC No.
28288457)
(Research document unavailable via ILL, non‐circulating)
Tier 3 Stoffel, L. R. (1998). The Leaves are Falling, Warren Benson. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 2, pp. 615‐619).
Chicago, GIA Publications.
Tier 4 George, R. G., Jr. (1995). An analysis of the compositional techniques used in
selected wind works of Warren Benson (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9538260)
Lutch, M. (2006). Warren Benson. In T. Salzman (Ed.), A composer's insight:
Thoughts, analysis, and commentary on contemporary masterpieces
for wind band (Vol. III). Galesville, MD, Meredith Music Publications.
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Wagner, A. D. (2000). The life and works of Warren Benson: A descriptive
catalog (Doctoral Dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9977895)
98
Benson, Warren The Passing Bell
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 0 2 4 0 9
Tier 1 Frelly, R. S. (1991). An interpretive concept for the conductor as demonstrated
in Warren Benson’s The Passing Bell (Doctoral dissertation, California
State University, Long Beach). Retrieved from ProQuest Dissertations
and Theses. (UMI No. 219910694)
While this document looks at a much broader discussion of
interpretive analysis versus “traditional” formal analysis, Frelly provides
detailed analyses of both types in The Passing Bell. The research explores
elements of structure, rhythm, melody, harmony, tone and texture, and uses
these aspects of analysis to take a further in‐depth look at how they affect
the perception of the composition by the conductor.
Harbinson, W. G. (1986). Analysis: “The Passing Bell” of Warren Benson.
Journal of Band Research, 21(2), 1‐8.
Harbinson begins by providing a brief biography of Benson, and then
discusses the history and commonalities of the hymn tunes used in The
Passing Bell. The work is then analyzed based on its structure,
instrumentation, harmony, texture, and relation to the source material.
Lutch, M. B. (2008). Contributions to the wind ensemble medium by three
contemporary American composers: Norman Dello Joio, Warren
Benson, and Samuel Adler (Doctoral dissertation, University of
Washington). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 3318216)
Lutch compares the contributions of three contemporary composers
to the wind ensemble medium in terms of their biographies, compositional
philosophies, styles, and approach on conducting their music. The document
includes interviews and a catalogue of each composer’s works and
recordings. Lutch analyzes representative wind works of each composer:
Dello Joio – Fantasies on a Theme by Haydn; Benson – Symphony II – Lost
Songs, Symphony for Drums and Wind Orchestra, The Passing Bell; and Adler
– Southwestern Sketches, Double Visions, Symphony No. 3, Diptych. These
analyses appear as descriptions of the works with insight from the composer,
rather than more in‐depth structural, harmonic, melodic, or rhythmic
analysis.
99
Benson, Warren The Passing Bell
Tier 3 The Passing Bell, Warren Benson (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 441‐443). Chicago, GIA
Publications.
Wagner, A. (2010) The Passing Bell, Warren Benson. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, Second ed., pp.
886‐897). Chicago, GIA Publications.
Tier 4 Fox, G. (1986). Performance, conducting, and rehearsal problems in five
selected contemporary works for wind band (Doctoral dissertation,
University of Illinois). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 8623298)
George, Jr., R. G. (1995). An analysis of the compositional techniques used in
selected wind works of Warren Benson (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9538260)
Lutch, M. (2006). Warren Benson. In T. Salzman (Ed.), A composer's insight:
Thoughts, analysis, and commentary on contemporary masterpieces
for wind band (Vol. III). Galesville, MD, Meredith Music Publications.
Wagner, A. D. (2000). The life and works of Warren Benson: A descriptive
catalog (Doctoral Dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9977895)
Benson, Warren The Solitary Dancer
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 1 4 0 5
Tier 3 Halseth, R. (1998). The Solitary Dancer, Warren Benson. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 2, pp. 502‐507).
Chicago, GIA Publications.
Tier 4 George, R. G., Jr. (1995). An analysis of the compositional techniques used in
selected wind works of Warren Benson (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9538260)
100
Benson, Warren The Solitary Dancer
Lutch, M. (2006). Warren Benson. In T. Salzman (Ed.), A composer's insight:
Thoughts, analysis, and commentary on contemporary masterpieces
for wind band (Vol. III). Galesville, MD, Meredith Music Publications.
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Wagner, A. D. (2000). The life and works of Warren Benson: A descriptive
catalog (Doctoral Dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9977895)
Berg, Alban Chamber Concerto, Op. 8 (for piano, violin and 13 winds)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 3 3 3 4 17
Tier 1 Crawford, R. S. (1982). Dynamic form and the Adagio of Alban Berg’s Chamber
Concerto, an essay. Three Episodes for String Quartet (original
composition by the author) (Doctoral dissertation, Washington
University). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 8314006, OCLC No. 11671013)
Crawford provides a detailed analysis of the Adagio movement of the
Chamber Concerto. He examines in detail “architectonic and dynamic
aspects,” or compositional concepts in developing themes in the composition
and how these concepts apply to the dynamic and thematic aspects of the
movement. An extremely in‐depth analysis of two short passages is included.
Pinkas, S. (1991). A rhythmic and metric analysis of the Rondo Ritmico, the
third movement of the Chamber Concerto by Alban Berg (Doctoral
dissertation, Brandeis University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9118713)
Pinkas explores the rhythmic and metric aspects of the third
movement of the Chamber Concerto. The author indicates the Rondo to be
created from the superimposition or amalgamation of the two earlier
movements. The research discusses the structure of the work as they relate
to the topic of superimpositions/amalgamation, but it does not discuss
harmonic or other pitch‐related topics.
101
Berg, Alban Chamber Concerto, Op. 8 (for piano, violin and 13 winds)
Votta, Jr., M. (1991). Pitch structure and extra‐musical references in Alban
Berg’s Kammerkonzert. Journal of Band Research, 26(2), 1‐32.
Votta provides an in‐depth analysis of the Chamber Concerto. Details
of the interval cycles, pitch structure, instrumentation, structure, and their
importance to the work as a whole are discussed. Votta suggests that
Soggetti cavati, numerology and subtle jokes as all being a part of the
compositional process, and that the work represents a turning point in Berg’s
career towards the composition of Lulu.
Votta, J. Jr. (2000). The secret program of Berg's Kammerkonzert: Whose life
is it anyway?. CBDNA Journal, 14, 12.
Reprinted: Votta, Jr., J. (2003). The secret program of Berg's Kammerkonzert:
Whose life is it anyway?. In M. Votta (Ed.), The Wind Band and Its
Repertoire (pp. 82‐99). Miami, FL: Warner Brothers Publications.
Votta provides an analysis of current scholarship on the Chamber
Concerto. He begins by discussing the work’s genesis. Votta explores the open
letter from Berg to Schoenberg, and inconsistencies as compared to analysis
of the score. Pinkas’ research on the “secret program” is also examined with
reference to musical examples. Votta also adresses pitch structure and how
Berg’s compositional discovery in the work proposed his growth as a
composer and the development of his compositional language as seen in Lulu.
Tier 2 Congdon, D. (1985). Composition in Berg’s Kammerkonzert. Perspectives on
New Music, 24(1), 234‐269.
Lambert, P. (1993). Berg’s path to twelve‐note Composition: Aggregate
construction and association in the Chamber Concerto. Music
Analysis, 12(3), 321‐342.
Weeks, R. (1982). Variation techniques in the Chamber Concerto of Alban Berg
(Master thesis, Indiana University). (OCLC No. 9593801)
Tier 3 Boynton, N. (1997). Compositional technique 1923‐6: The Chamber Concerto
and the Lyric Suite. In A. Pople (Ed.), The Cambridge Companion to
Berg (pp. 189‐203). Cambridge, England: Cambridge University Press.
Carner, M. (1975). Alban Berg: The man and the work (pp. 129‐136). New
York: Holmes and Meier.
102
Berg, Alban Chamber Concerto, Op. 8 (for piano, violin and 13 winds)
Dalen, B. (1989). Freundschaft, Liebe, und Welt: The secret programme of the
Chamber Concerto. In D. Jarman (ed.), The Berg Companion (pp. 141‐
180). United Kingdom: Macmillan Basingstoke.
Tier 4 Leibowitz, R. (1970). Schoenberg and his school (pp. 26‐31). Translated by
Dika Newlin. New York: Da Capo Press.
Reich, W. (1965). Alban Berg (pp. 143‐148). Translated by Cornelius Cardew.
New York: Harcourt, Brace and World.
Tardif, P. J. (1976). Historical and performance aspects of Alban Berg’s
Chamber Concerto for Piano, Violin, and Thirteen Winds (Doctoral
dissertation, Peabody Conservatory of Music). (UMI No. 7713163,
OCLC No. 4178868)
Tier F Brauneiss, L. (1986). Thoughts on rhythm in Alban Berg's Chamber Concerto.
Osterreichische Musikzeitscrift, 41(11), 553‐59.
Floros, C. (1979). Alban Berg's Chamber Concerto: An homage to Schoenberg
and Webern. In Alban Berg: Chamber music II (Vol. II, pp. 63‐90).
Germany: Kritik Munchen.
Floros, C. (1987). The secret program of Alban Berg's chamber concerto: A
semantic analysis. Neue Zeitscrift fur Musik, 148(11), 11‐22.
Hilmar, R. (1980). Metrische proportioinene und serielle rhythmik im
Kammerkonzert von Alban Berg. Schweizerische Musikzeitung, 120,
355‐360.
Berlioz, Hector Symphonie Funebre et Triomphale
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 2 2 4 2 13
Tier 1 Johnson, D. (2001). The Symphonie Funèbre et Triomphale of Hector Berlioz.
WASBE Journal, 8, 14‐21.
(Research document unavailable)
103
Berlioz, Hector Symphonie Funebre et Triomphale
Nowalis, S. M. (1975). Timbre as a structural device in Berlioz' symphonies
(Doctoral dissertation, Case Western Reserve University). (UMI No.
7806315)
Nowalis examines four different works of Berlioz: Symphonie
Fantastique, Harold en Italie, Rome et Juliette, and Symphonie Funebre et
Triomphale. Detailed analyses focus primarily on the use of instrumentation
and texture and how it was used to create or aid hierarchical organization
levels. Nowalis discusses external factors affecting compositional choices.
Comparisons are also made between the four works regarding the use of
texture.
Wilson, C. B. (1974). Some Remarks on Berlioz’ Symphony for Band (The
Symphonie Funèbre et Triomphale), Part I. The Instrumentalist, 29(4),
48‐52.
In this first of a two part series, Wilson discusses Berlioz’ symphonic
output, history leading to the Symphony, early performances by the
composer, and influences on Berlioz’ style. A brief analysis examines musical
aspects of the work in terms of melody, harmony, rhythm and orchestration,
providing brief examples from the work.
Tier 2 Cark, A. (1984). Hector Berlioz' Symphonie Funebre et Triumphale (Master
thesis, Ohio State University). (OCLC No. 31955663)
Langford, J. (1993). The dramatic symphonies of Berlioz as an outgrowth of
the French operatic traditions. The Musical Quarterly, 69, 85‐103.
Tier 3 Langford, J. (2000). The symphonies. In P. A. Bloom (ed.), The Cambridge
Companion to Berlioz (pp. 53‐68). United Kingdom: Cambridge
University Press.
Meunier, R. (2000). Grand Symphonie Funebre et Triomphale, Hector Berlioz.
In R. Miles (Ed.), Teaching Music Through Performance in Band (Vol. 3,
pp. 492‐499). Chicago, GIA Publications.
Tier 4 Bass, E. C. (1964). Thematic procedures in the symphonies of Berlioz (Doctoral
dissertation, University of North Carolina at Chapel Hill). (UMI No.
6503988, OCLC No. 6825893)
104
Berlioz, Hector Symphonie Funebre et Triomphale
Cooper, D. A. (1967). An historical account, criticism, and modern
performance edition of The Grand Symphony for Band by Hector
Berlioz (Doctoral dissertation, University of Montana). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 6807263)
Whitwell, D. (1975). Concerning the lost versions of the Berlioz Symphony for
Band. Journal of Band Research, 11(2), 5‐11.
Wilson, C. B. (1974). Some remarks on Berlioz’ Symphony for Band (The
Symphonie Funèbre et Triomphale), Part II. The Instrumentalist, 29(5),
44‐46.
Tier F Kinderman, J. (1979). Sonority as a means of structuring in Hector Berlioz's
festal works. The examples of the Grande Symphonie Funebre et
Triomphale and Grande Messe des Morts. In C‐H. Mahling (ed.), About
symphonies: Essays on a genre of music (pp. 117‐127). Germany: Hans
Schneider Tutzing.
Suppan, W. (2002). Hymn d'Adieu: Hector Berlioz's Oraison funebre in the
Grande Symphonie Funebre et Trimphale. In M. Czernin (ed.),
Commemorative Collection for Watler Pass (p. 565‐573). Germany:
Hans Schneider Tutzing.
Bernard, Emile Divertissement pour Instruments a Vent op. 36
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 1 0 1
Tier 4 Winther, R. (2004). An annotated guide to wind chamber music (p. 211).
Miami, FL: Warner Bros. Publications.
Brahms, Johannes Begrabnisgesang, Op. 13 (choir, woodwinds & brass)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 1 2 0 3
Tier 3 Hancock, V. (1990). Brahms and early music: Evidence from his library and his
choral compositions. In G. D. Bozarth (ed.), Brahms studies: Analytical
and historical perspectives (p. 29‐48). New York: Oxford University
Press.
105
Brahms, Johannes Begrabnisgesang, Op. 13 (choir, woodwinds & brass)
Tier 4 Green J. D. (2008). A conductor's guide to nineteenth‐century choral‐
orchestral works. Lanham, MD: Scarecrow Press.
Winther, R. (2004). An annotated guide to wind chamber music (p. 366).
Miami, FL: Warner Bros. Publications.
Brant, Henry Angels and Devils (flute choir)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 0 0 1
Tier 1 Sadilek, E. A. (1998). Original music for five or more flutes, 1727 to 1997:
Analyses of three exemplary compositions and annotated catalogue
(Doctoral dissertation, John Hopkins University). (UMI No. 9833565)
Sadilek created a catalog of flute choir music including 351 titles and
labeled them according to difficulty level. Three works were analyzed in
detail: Brant’s Angels and Devils, Hoover’s Three for Eight, and Jung’s Fur +
Wider, Op. 45. Analyses include background, overview, structure, and
descriptions of entrances, melodic lines and tonality.
Bruckner, Anton Mass No. 2 in E Minor
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 4 1 5 4 16
Tier 1 Ferguson, J. S. (1987). A conductor's analysis for performance of Mass in E
Minor by Anton Bruckner (Doctoral dissertation, University of
Wisconsin, Madison). Retrieved from ProQuest dissertations and
theses. (UMI No. 8719098)
Ferguson discusses Bruckner’s background, character, influences, and
his compositions of the mass. An examination of the Mass in E Minor begins
with a discussion on the genesis of musical motives and the work as a whole.
Structural analyses are organized by movement, and include discussion on
thematic and melodic development. Focus is made on structural and linear
development within the context of harmonic tension. A discography of the
Mass is also included.
106
Bruckner, Anton Mass No. 2 in E Minor
Graham, W. A. (1974). Mass in E Minor: A study of Anton Bruckner's unique
musical expression (Doctoral project, Stanford University). (OCLC No.
777353383)
(Research document unavailable, no lender via ILL)
Tier 2 Newlin, D. (1958). Bruckner's three great masses. Chord and Dischord, 2(8), 3‐
16.
Reish, G. N. (1993). Eclecticism and stylistic interaction in Anton Bruckner's
Mass in E Minor (Master thesis, University of Georgia). (OCLC No.
28836030)
Schmidt, M. D. (1962). Three masses of Anton Bruckner (Master thesis,
University of Michigan). (OCLC No. 68789567)
Welles, E. (1938). Anton Bruckner and the process of musical creation. The
Musical Quarterly, 24, 265‐290.
Tier 3 Kinder, K. W. (2000). The wind and wind‐chorus music of Anton Bruckner.
Westport, CT: Greenwood Press.
Tier 4 Green J. D. (2008). A conductor's guide to nineteenth‐century choral‐
orchestral works. Lanham, MD: Scarecrow Press.
Hillis, M. (1991). Anton Bruckner's Mass in E minor: A performer's guide.
Journal of the Conductors Guild, 12(3‐4), 82‐95.
Hillis, M. (2000). Anton Bruckner's Mass in E minor: A performer's guide.
Journal of the Conductors Guild, 21(1‐2), 23‐24.
Mathews, T. K. (1974). The masses of Anton Bruckner: A comparative analysis
(Doctoral dissertation, University of Michigan). (UMI No. 7500754,
OCLC No. 2693877)
Winther, R. (2004). An annotated guide to wind chamber music (p. 367).
Miami, FL: Warner Bros. Publications.
Tier F Auchmann, M. (1991). Anton Bruckner’s Messe Nr. 2 E‐moll (WAB 27), zur
musikalischen gestaltung, wirkungs‐ und rezeptionsgeschichte
(Doctoral dissertation, University Wien, Austria). Retrieved from
ProQuest Dissertations and Theses. (UMI No. C470371)
107
Bruckner, Anton Mass No. 2 in E Minor
Gruber, G. W. (1985). Die Credo‐kompositionen Anton Bruckners. Bruckner‐
Symposion, 129‐143.
Nowak, L. (1975). A study of the formal proportions in the Mass in E Minor by
Anton Bruckner. In O. Wessely (ed.), A commemoration by the
Osterreichische Akademie der Wissenschaften for the 150th
anniversary of the birth of Anton Bruckner (pp. 249‐270). Austria:
Osterreichische Akademie der Wissenschaften.
Scholz, H‐G. (1961). Die form der reifen messen Anton Bruckners. Berlin:
Merseburger.
Colgrass, Michael déjà vu (Four Percussionists and Wind Ensemble)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 0 0 1
Tier 1 Dietz, B. W. (2004). Historical and analytical aspects of four percussion
ensemble concerti with wind symphony (Warren Benson, Toshiro
Mayuzumi, Karel Husa, Michael Colgrass) (Doctoral thesis,
Northwestern University). (OCLC No. 56555094)
Dietz examines four works for percussion and winds: Benson’s
Symphony for Drums and Wind Ensemble, Mayuzumi’s Concerto for
Percussion and Wind Orchestra, Husa’s Concerto for Percussion and Wind
Ensemble, and Colgrass’ déjà vu for percussion quartet and wind ensemble.
Each work includes a biography of the composer, an analysis of the work,
comments regarding performance issues, and a selected output involving
percussion. Analyses focuses on orchestration between percussion and the
ensemble, and rhythm and meter indications. Dietz also provides an
instrumentation list and selected list of other percussion concerti with wind
ensemble.
108
Colgrass, Michael Winds of Nagual
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
5 0 1 3 0 9
Tier 1 Boeckman, J. D. (2005). A counterpoint of characters: The music of Michael
Colgrass (Doctoral dissertation, University of Wisconsin ‐ Madison).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 0808260)
Boeckman discusses the biography of Colgrass, compositional styles,
and provides an in‐depth analysis of Winds of Nagual. He addresses Colgrass’
use of quotation and paraphrase, his integration of other musical styles and
influences, and how much of his music finds inspiration as a dramatic
realization from an extra‐musical source. Winds of Nagual is examined by
structure, instrumentation and how musical gesture relates to the
programmatic inspiration.
Clickard, S. D., Jr. (1999). A study of the programmatic aspects in the wind
music of Michael Colgrass (Doctoral dissertation, University of
Washington). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 9944107)
Clickard discusses the composer’s biography and examines three
works of Colgrass: Arctic Dreams, Winds of Nagual and Urban Requiem.
Analysis focuses on the musical representation of the underlying story, but
also addresses melody, rhythm, structure and harmony, instrumentation and
orchestration.
Engle, T. J. (2005). A stylistic analysis of the wind ensemble music of Michael
Colgrass, with particular emphasis on Winds of Nagual: A discussion of
its relationship to the writings of Carlos Castaneda and a practical
guide for its effective performance (Doctoral dissertation, Michigan
State University). (OCLC No. 180167286)
(Research document unavailable, no lender via ILL)
109
Colgrass, Michael Winds of Nagual
Mathes, J. (1987). Analysis: Winds of Nagual by Michael Colgrass. Journal of
Band Research, 23(1), 3‐16.
Mathes presents background on Colgrass and the composition
regarding its genesis, its program and instrumentation. A formal structural
analysis outlines all the major sections and their programmatic elements,
along with the tonality and tempo of the primary motives. Mathes also
discusses the compositional techniques employed in the work, prior to a
more detailed examination of each character’s theme in terms of texture and
compositional technique. Further examination of Carlos’ theme is proposed
as the unifying structure of the work.
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Colgrass’ Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation, background of the work, and a structural
analysis that includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestral aspects.
Tier 3 Fennell, M. J. (1998). Winds of Nagual: A musical fable for wind Eesemble on
the writings of Carlos Castaneda, Michael Colgrass. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 2, pp. 644‐651).
Chicago, GIA Publications.
Tier 4 McCutchen, M. G. (2009). An examination of the history and winning pieces of
the National Band Associations composition contest: 1977—2008
(Doctoral dissertation, Florida State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3392134)
110
Colgrass, Michael Winds of Nagual
Pare, C. T. (1993). An examination of innovative percussion writing in the band
music of four composers: Vincent Persichetti‐‐Symphony for Band,
Karel Husa‐‐Music for Prague 1968, Joseph Schwantner‐‐and the
mountains rising nowhere, Michael Colgrass‐‐Winds of Nagual
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9329971)
Stern, D. W. (2001). The use of the euphonium in selected wind band
repertoire since 1980 (Doctoral Dissertation, Texas Tech University).
Retrieved from http://hdl.handle.net/2346/12984.
Copland, Aaron An Outdoor Overture
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 1 5 0 6
Tier 3 Tower, I. (1998). An Outdoor Overture, Aaron Copland. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 2, pp. 408‐430).
Chicago, GIA Publications.
Tier 4 Adams, D. (1994). Outdoor Overture by Aaron Copland. Journal of the
Conductors Guild, 15(2), 119.
Battisti, F. (1999). The dean of American composers, an overview of Copland's
works for band. The Instrumentalist, 54(1), 58.
Knight, J. (2001). Copland's "Outdoor Overture": One piece for two
ensembles. The Instrumentalist, 56(1), 17‐24, 29.
Knight, M. D. (2007). The interpretive wind band conductor. Galesville, MD:
Meredith Music Publications. (OCLC No. 191913539)
111
Copland, Aaron Emblems
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 1 2 4 0 10
Tier 1 Carnochan, R. M. (1999). Aaron Copland’s Emblems (Doctoral dissertation,
University of Texas, Austin). Retrieved from ProQuest Dissertations
and Theses. (UMI No. 9956962)
Carnochan examines the genesis of Emblems via the commissioning
process through CBDNA. Analysis focuses on the form and rhythm structure
of the work. The research also includes interpretation commentary based on
interviews with H. Robert Reynolds, Donald Wilcox and Keith Wilson.
Lynch, J. P. (1996). Emblems: Signifiers of stylistic coherence in the
formulation of an American sound in this and other selected works of
Aaron Copland (Doctoral dissertation, University of Cincinnati).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9734936)
Lynch utilizes an analysis of Emblems and three other works to show
evidence of a cohesive style in his treatment of American themes and
elements of rhythm, harmony, melody, form and timbre. The other works
addressed are The Tender Land, Four Piano Blues and Inscape. The Emblems
analysis examines background of the work, melody, harmony, public
acceptance, performance difficulties.
McCallum, W. M. (2004). Pedagogical style and influence of Nadia Boulanger
on music for wind symphony, an analysis of three works by her
students: Copland, Bassett, and Grantham (Doctoral dissertation,
University of North Texas). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 3126578)
McCallum discusses the life of Nadia Boulanger, including her
education, compositions, teaching philosophies and techniques, and her time
in America. He specifically addresses the musical foundations of la grande
ligne, rhythm, harmony and orchestration. He examines three pieces:
Copland’s Emblems, Bassett’s Lullaby for Kirsten and Grantham’s Variations
on an American Cavalry Song. Each analysis includes biographical information
and details on the composer’s interaction with Boulanger, and an analysis of
the work in the context of the above‐mentioned musical foundations.
112
Copland, Aaron Emblems
Tier 2 Simms, B. R. (2007). Serialism in the early music of Aaron Copland. The
Musical Quarterly, 90(2), 176‐196.
Tier 3 Emblems, Aaron Copland (1997). In R. Miles (Ed.), Teaching Music Through
Performance in Band (Vol. 1, pp. 400‐402). Chicago, GIA Publications.
Nicholson, C. (2010). Emblems, Aaron Copland. In R. Miles (Ed.), Teaching
Music Through Performance in Band (Vol. 1, Second ed., pp. 812‐820).
Chicago, GIA Publications.
Tier 4 Battisti, F. (1999). The dean of American composers, an overview of Copland's
works for band. The Instrumentalist, 54(1), 58.
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Shearer, J. E. (1988). Copland's harmonic and melodic styles (Master thesis,
New Mexico State University). (OCLC No. 18900228)
Whitwell, D. (1971). The enigma of Copland’s Emblems. Journal of Band
Research, 7(2), 5‐9.
Corigliano, John Gazebo Dances
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 2 2 0 5
Tier 1 Olfert, W. D. (1993). An analysis of John Corigliano’s Gazebo Dances for Band.
Journal of Band Research, 29(1), 25‐42.
Olfert presents a brief biography of Corigliano and places Gazebo
Dances in his early stylistic period of composition. Analysis includes an
overview of the formal structure, and detailed chronological examination of
each movement focuses its discussion on motivic structure, tonality and
instrumentation.
Tier 3 Hinton, E. L. (2008). Conducting the wind orchestra: Meaning, gesture, and
expressive potential. Amherst, NY: Cambria Press.
Schueller, R. C. (1998). Gazebo Dances for band, John Corigliano. In R. Miles
(Ed.), Teaching Music Through Performance in Band (Vol. 2, pp. 598‐
605). Chicago, GIA Publications.
113
Corigliano, John Gazebo Dances
Tier 4 Kim, D. Y. (2008). A structural analysis and selected aspects of performance of
Gazebo Dances for piano four hands by John Corigliano (Doctoral
dissertation, University of North Texas). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 3352108)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Dahl, Ingolf Concerto for Alto Saxophone and Wind Ensemble
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 0 3 0 5
Tier 1 Cohen, P. (1985). The saxophone concerto of Ingolf Dahl: A historical and
comparative analysis (Doctoral thesis, Manhattan School of Music).
(OCLC No. 30116802)
Reprinted: Cohen, P. (1985). The original 1949 saxophone concerto of Ingolf
Dah: A historical and comparative analysis. Teaneck, NJ: To the Fore
Publishers. (OCLC No. 58837862)
(Research document unavailable, no lender via ILL)
Rettie, C. S. (2006). A performer's and conductor's analysis of Ingolf Dahl's
Concerto for Alto Saxophone and Wind Orchestra (Doctoral
dissertation, Louisiana State University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 3208193)
Rettie discusses Dahl’s biography and the compositions style, along
with background and historical information regarding the Concerto. Analysis
of each movement focuses on formal structure and harmonic analysis with
some discussion on instrumentation and orchestration. The document
includes discussion on performance and rehearsal guidelines for both
conductor and performer.
Tier 4 Berdahl, J. N. (1975). Ingolf Dahl: His life and works (Doctoral dissertation,
University of Miami). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 7612822)
114
Dahl, Ingolf Concerto for Alto Saxophone and Wind Ensemble
McElhaney, C. B. (1998). The saxophone and piano version of Ingolf Dahl's
Concerto for Alto Saxophone: A guide to performance for the
collaborative pianist (Doctoral dissertation, University of Texas,
Austin). Retrieved from ProQuest Dissertations and Theses. (UMI No.
9838179)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Dahl, Ingolf Sinfonietta for Band
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 0 3 4 0 11
Tier 1 Adams, B. (1988). Ingolf Dahl’s Sinfonietta for Concert Band: An interpretive
analysis. The Instrumentalist, 43(3), 21‐22, 24, 27‐28.
Adams discusses Dahl’s life and outlines significant compositions.
Analysis of Sinfonietta includes the structure and use of the tone row:
melodically, harmonically and in designing motives. A chronological analysis
examines each structure primarily in terms of cadences and instrumentation.
Adams includes commentary on conducting challenges, balance, articulation,
dynamics and melodic line.
Bruning, E. H., Jr. (1980). A survey and handbook of analysis for the
conducting and interpretation of seven selected works in the standard
repertoire for wind band (Doctoral dissertation, Ball State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8120740)
Bruning utilized a panel of experts to select seven seminal works for
wind band: Dahl’s Sinfonietta for Band; Giannini’s Symphony No. 3 for Band;
Grainger’s Lincolnshire Posy; Hindemith’s Symphony in B‐flat; Persichetti’s
Symphony No. 6, Op. 69; Reed’s La Fiesta Mexicana; and Schoenberg’s Theme
and Variations, Op. 43a. Each work is analyzed in detail. The author presents
a collection of performance and rehearsal challenges and solutions provided
from a surveyed panel of experts. The document includes interviews and/or
letters from Vincent Persichetti, H. Robert Reynolds and Percy Grainger.
115
Dahl, Ingolf Sinfonietta for Band
Kloecker, J. H. (1993). An analysis of Ingolf Dahl’s Sinfonietta for Concert
Band. Journal of Band Research, 28(2), 37‐91.
Kloecker presents an extremely detailed and in‐depth analysis of the
Sinfonietta. A detailed biography of Dahl includes his education,
compositional output and style periods. The genesis of the work is discussed
as well as the historical context in which it is written. The structural form,
tonality and large structures are detailed as well as Dahl’s use of serial
techniques, scoring, instrumentation and the character of the work. Detailed
analysis examines not only the structural, harmonic, rhythmic and melodic
manipulations of motives and pitches, but also the context and musical
implications within and among sections.
Weinstein, M. H. (1991). Tonal reference in the serial music of Ingolf Dahl
(with); Concerto for Wind Ensemble (original composition) (Doctoral
dissertation, Brandeis University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9129774)
Weinstein utilizes detailed analyses of the third movement of the
Sinfonietta and the first movement of the Piano Trio to create an argument
for Dahl’s use of tonal references within the serial system. The document
discusses each movement in detail and also contains a piano reduction of the
Sinfonietta’s third movement, along with Dahl’s CBDNA lecture notes from
1964.
Tier 3 Dahl, Ingolf. (1964). Sinfonietta for Band: Discussion by Ingolf Dahl.
Proceedings of the CBDNA 13th National Conference, USA, 136‐140.
Sinfonietta, Ingolf Dahl (1997). In R. Miles (Ed.), Teaching Music Through
Performance in Band (Vol. 1, pp. 461‐464). Chicago, GIA Publications.
Weinstein, M. H. (2010). Sinfonietta for Concert Band, Ingolf Dahl. In R. Miles
(Ed.), Teaching Music Through Performance in Band (Vol. 1, Second
ed., pp. 932‐941). Chicago, GIA Publications.
Tier 4 Berdahl, J. N. (1975). Ingolf Dahl: His life and works (Doctoral dissertation,
University of Miami). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 7612822)
Johnson, C. J. L. (2005). An annotated collection of twentieth century wind
band excerpts for trumpet (Doctoral Dissertation, Ohio State
University). http://rave.ohiolink.edu/etdc/view?acc_num
=osu1117571186
116
Dahl, Ingolf Sinfonietta for Band
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Young, E. M. (1994). A performing and teaching guide to the clarinet excerpts
in five major works for band (Doctoral dissertation, University of North
Carolina, Greensboro). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9520544)
Dello Joio, Norman Variants on a Medieval Tune
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 2 0 0 4
Tier 1 Johnson, C. E. (1969). Common musical idioms in selected contemporary wind
band music (Doctoral dissertation). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7011129)
Johnson provides a detailed analysis of eight different works from a
study presented at the fourteenth National Conference of the College Band
Directors National Association regarding most frequently programmed works
between 1961‐1966. The study looks in‐depth at the formal structure, key
harmonic structure, cadence points, and phrase structure of each work, and
provides a summary of the work. It outlines key features across harmony,
phrase, tonal structure, formal structure and thematic materials.
Kopetz, B. (1989). Dello Joio’s Variants on a Medieval Tune. The
Instrumentalist, 44(4), 21‐22, 24, 27‐28, 88.
Kopetz describes Dello Joio briefly and the history and use of the
source melody: In Dulci Jubilo. A chronological analysis follows describing
instrumentation, conducting and performance challenges. Analysis addresses
orchestration, structure, the development of variations, and how phrases fit
into the work as a whole.
Tier 3 Spittal, R. (2010). Variants on a Medieval Tune, Norman Dello Joio. In R. Miles
(Ed.), Teaching Music Through Performance in Band (Vol. 1, Second
ed., pp. 761‐770). Chicago, GIA Publications.
Variants on a Medieval Tune, Norman Dello Joio (1997). In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, pp. 378‐381).
Chicago, GIA Publications.
117
Druckman, Jacob Engram from Prism
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 0 0 0 2
Tier 1 Nigg, E. K. (1995). An analysis of Jacob Druckman’s works for wind ensemble:
Engram (1982), Paean (1986), In Memoriam Vincent Persichetti
(1987), With Bells On (1993) (Doctoral thesis, University of Cincinnati).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9607726)
Nigg examines four wind works of Jacob Druckman in extreme detail
and how each contributes to his unique style. Each composition is discussed
in terms of general remarks, instrumentation, its musical language and
specific comparisons to related compositions. Engram is also extensively
compared to the original orchestral version. The “musical language” section is
organized by musical concept and not chronologically by compositional
structure. These chapters contain detailed examination of pitch material,
harmony, tonality, form, specific compositional concepts (e.g. windows
concept, concertato‐idea, clarity and disguise), timber and dynamics, and the
use of quotations.
Sedatole, K. L. (1994). Jacob Druckman’s Engram: A wind transcription of his
"Prism for orchestra, movement III, after Luigi Cherubini (Doctoral
dissertation, University or Texas at Austin). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9519230, OCLC No. 34197530)
Sedatole discusses the origins of wind transcriptions, along with those
done by the original composer. He reviews the biography of Druckman and
provides an analysis of Engram. The analysis addresses formal structure,
harmony, melody, but focuses on the differences and similarities between the
orchestral and wind versions. Sedatole concludes by addressing performance
issues.
Dvorak, Antonin Serenade in D minor, Op. 44
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 3 0 2 0 7
Tier 1 Thornhill, M. L. (n.d.). A parallel study of two wind serenades: Mozart's K. 361
and Dvorak's opus 44 (Doctoral thesis, Stanford University). (OCLC No.
38646983)
(Research document unavailable, no lender via ILL)
118
Dvorak, Antonin Serenade in D minor, Op. 44
Woodford, P. G. (1998). An analysis of Antonin Dvorak’s Serenade in D Minor,
Opus 44. Journal of Band Research, 34(1), 38‐58.
Woodford discusses Dvorak’s life, education, and style, along with the
background and genesis of the work. An analysis of the work includes an
overview of the structure and instrumentation, and then a detailed discussion
on music elements. Formal structure is examined in terms of melodic themes
and their development, tonality and relationship to the larger structure of the
work. Further analysis examines the use of melody, its development and
relationships to tonality and form. Harmonic analysis likens Dvorak to
Wagner, and a discussion of rhythmic devices presents a case for the Czech
character of the work.
Tier 2 Hardy, M. C. (2009). A graduate recital in wind band conducting : Serenade in
D Minor Op. 44, Antonin Dvor̆ák and Symphony no. 6 (Symphony for
band), Vincent Persichetti (Master thesis, Kansas State University).
(OCLC No. 320953958)
Warburton, A. O. (1972). Set works for 'O' level, GCE. Music Teacher, 51, 16‐
18.
Zerull, D. S. (1981). Antonin Dvorak, Serenade in D Minor, opus 44 (Master
thesis, Bowling Green State University). (OCLC No. 7870365)
Tier 4 Caulder, S. B. (2005). Historical and performance perspective for oboe from
selected chamber repertoire (Doctoral treatise, Florida State
University). (OCLC No. 135077905)
Winther, R. (2004). An annotated guide to wind chamber music (p. 276).
Miami, FL: Warner Bros. Publications.
119
Etler, Alvin Concerto for Clarinet and Chamber Ensemble
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 0 3 0 5
Tier 1 Harris, E. C. (1985). Original twentieth century works for solo clarinet and
wind ensemble by American composers: An analytical and stylistic
study (literature, conducting) (Doctoral dissertation, University of
Northern Colorado). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 8519435, OCLC No. 15064150)
Harris provides biographies, backgrounds, and brief analyses of
Stravinsky’s Ebony Concerto, Etler’s Concerto for Clarinet with Chamber
Ensemble, and Gould’s Derivations for Clarinet and Jazz Band. Each
movement is described based on its formal structure and examines texture,
melodic, harmonic and rhythmic development, but not in terms of an in‐
depth harmonic analysis.
Nichols, W. R. (1976). A comprehensive performance project in clarinet
literature with an essay on the wind music of Alvin Etler (1913‐1973)
(Doctoral dissertation, University of Iowa). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7713154)
Nichols catalogs the wind music of Etler, each with a brief annotation.
He examines five works in greater detail: Sonata for Oboe, Clarinet and Viola,
Quintet No. 1 for Woodwind Instruments, Concerto for Wind Quintet and
Orchestra, Concerto for Clarinet with Chamber Ensemble, and Concerto for
Brass Quintet. Analyses include instrumentation and thematic descriptions of
each section of the composition, but lacks in‐depth harmonic, melodic, tonal,
rhythmic or structural analysis.
Tier 4 Knight, G. W. (1973). A comparative study of compositional techniques
employed in instructional materials and twentieth‐century solos for
the clarinet (Doctoral dissertation, University of Illinois). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 7412276)
Nichols, W. R. (1978). The wind music of Alvin Etler. NACWPI Journal, 26(3), 3‐
9.
Winther, R. (2004). An annotated guide to wind chamber music (p. 331).
Miami, FL: Warner Bros. Publications.
120
Gilmore, Bernard Five Folk Songs for Soprano and Band
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 0 0 1
Tier 1 Schmidt, D. L. (2000). An examination of four song cycles for solo voice and
wind ensemble by twentieth‐century composers Bernard Gilmore,
William Penn, John Heins, and John Stamp (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9978984)
Schmidt examines different techniques used in composing song cycles
for soloists and winds. Discussion of the song cycle and its history are
included. Analysis of each composer’s work includes biography, orchestration,
and text setting. Schmidt compares different philosophies, construction and
presentation of these art songs.
Gould, Morton Symphony No. 4 (West Point Symphony)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
5 0 2 1 0 8
Tier 1 Evans, L. (1978). Morton Gould: His life and music (Doctoral dissertation,
Columbia University). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 7822044)
Evans descibes the life and output of Gould in great detail, and
examines six representative works: Latin‐American Symphonette, Interplay
(American Concertette), Fall River Legend, Symphony for Band (West Point
Symphony), Jekyll and Hyde Variations, and Vivaldi Gallery. Analyses include a
chronological description of themes, stylistic, orchestration and
compositional techniques. Evans includes a summary of stylistic
characteristics, educational implications, and a discography.
121
Gould, Morton Symphony No. 4 (West Point Symphony)
Mullins, J. B. (1967). Three symphonies for band by American composers
(Doctoral dissertation, University of Illinois). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 6711889)
Mullins examines three symphonies for band: Gould’s Symphony for
Band, Persichetti’s Symphony for Band and Giannini’s Symphony for Band.
Each work is introduced with a sketch of the composer’s life, origins and first
performances, and instrumentation of the work. Each symphony is then
analyzed in terms of form, melodic and rhythmic structure, harmonic
structure and texture, and instrumentation. Mullins utilizes these elements to
discuss the stylistic concept of the composer and work, and provide a basis
for comparison of the three compositions.
Mullins, J. B. (1968). Morton Gould’s Symphony for Band, Part 1. Journal of
Band Research, 4(2), 24‐35.
Mullins, J. B. (1968). Morton Gould’s Symphony for Band, Part 2. Journal of
Band Research, 5(1), 29‐47.
Mullins’ analysis of the Gould Symphony crosses two journals, the
article split between the movements. Analysis is chronological and
structurally based, providing multiple examples of themes and motives, with
emphasis on tonality, harmonic structure and instrumentation.
Mullins, J. B. (1969). A comparative analysis of three symphonies for band.
Journal of Band Research, 6(1), 17‐28.
A condensation of his dissertation, Mullins presents a movement‐by‐
movement structural comparison of the symphonies for band by Giannini,
Persichetti and Gould. The form of the Gould Symphony is examined and
comparisons and contrasts are drawn as the author examines the formal
structure of the Persichetti and Gould works. Comparisons are made while
discussing topics of melodic structure and tonality, harmonic structure and
texture, rhythmic structure, instrumentation and aesthetic synthesis.
Tier 3 Stone, T. (2010). Symphony for Band “West Point,” Morton Gould. In R. Miles
(Ed.), Teaching Music Through Performance in Band (Vol. 1, Second
ed., pp. 942‐951). Chicago, GIA Publications.
Symphony for Band “West Point,” Morton Gould (1997). In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, pp. 469‐475).
Chicago, GIA Publications.
122
Gould, Morton Symphony No. 4 (West Point Symphony)
Tier 4 Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Gounod, Charles Petite Symphonie in B‐flat, "Little Symphony for Winds"
(Octet and Flute)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 2 0 2
Tier 4 Caulder, S. B. (2005). Historical and performance perspective for oboe from
selected chamber repertoire (Doctoral treatise, Florida State
University). (OCLC No. 135077905)
Winther, R. (2004). An annotated guide to wind chamber music (pp. 181‐182).
Miami, FL: Warner Bros. Publications.
Grainger, Percy Colonial Song
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 2 1 0 4
Tier 1 Fennell, F. (1983). Basic band repertory: Colonial Song by Percy Grainger. The
Instrumentalist, 37(8), 14‐19.
Fennell provides a brief description of Grainger, the background of
Colonial Song, and examines five challenges in performing this work:
ensemble, sustained tonal production, tonal balance, basic accompanying,
and rubato. Analysis is organized around a discussion of the melodies, and
addresses the aforementioned issues in a chronological manner. Discussion of
performance and conducting issues is included, along with a structural
diagram and list of corrections.
Tier 3 Colonial Song, Percy Grainger (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 316‐318). Chicago, GIA
Publications.
Rogers, R. M. (2010). Colonial Song, Percy Grainger. In R. Miles (Ed.), Teaching
Music Through Performance in Band (Vol. 1, Second ed., pp. 624‐632).
Chicago, GIA Publications.
123
Grainger, Percy Colonial Song
Tier 4 Wilson, B. S. (1992). Orchestrational archetypes in Percy Grainger’s wind band
music (Doctoral dissertation, University of Arizona). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9229855)
Grainger, Percy Hill Song No. 1 (14 Instruments)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 1 5 0 7
Tier 1 Rogers, R. M. (1987). The hill‐songs of Percy Aldridge Grainger: An historical
and analytic study with a new performance edition (volumes I and II)
(Doctoral dissertation, University of Texas, Austin). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8728692)
Rogers chronicles the history and various incarnations of the Hill Songs
and includes a new wind arrangement of Hill Song No. 1. The author
examines each work in detail, concentrating on aspects of composition that
illustrate the composer’s style. The two works are compared to illustrate
different aesthetics. The composer’s various arrangements of each work are
discussed.
Tier 3 Lewis, T. P. (1991). A source guide to the music of Percy Grainger. White
Plains, NY: Pro/Am Music Resources.
Tier 4 Grainger, P. A. (1978). Percy Aldridge Grainger's remarks about his Hill Song
No. 1. The Grainger Society Journal, 1(2), 14‐23.
Grainger, P. A. (1982). Percy Aldridge Grainger's remarks about his Hill‐song
No. 1. In T. Balough (ed.). A musical genius from Australia: Selected
writings by and about Percy Grainger (p. 82‐91). Nedlands, Australia:
University of Western Australia. (ISBN: 0‐9599791‐6‐6)
Rogers, R. M. (1991). A chronology of the hill‐songs of Percy Aldridge
Grainger. Journal of Band Research, 27(1), 1‐15.
Slattery, T. C. (1967). The wind music of Percy Aldridge Grainger (Doctoral
dissertation, University of Iowa). (UMI No. 6709104, OCLC NO.
1956632)
Slattery, T. C. (1971). The hill songs of Percy Grainger. Journal of Band
Research, 8(1), 6‐10.
124
Grainger, Percy Hill song No. 2
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 1 0 3 0 8
Tier 1 Fennell, F. (1984). Basic band repertoire: Hill Song No. 2 by Percy Grainger.
The Instrumentalist, 38(7), 22‐29.
Fennell provides some basic information on the work, a specific letter
describing the work from the composer and a description of bagpipes. Fennell
examines the work in terms of its source: the Argyleshire Piper Tune, and the
stylistic characteristics necessary for performance. Description of the musical
character, texture, rhythm, dynamics, performance and conducting
challenges are included. Analogies to other repertoire, Grainger and
contemporaries, are utilized throughout the article.
Rogers, R. M. (1987). The hill‐songs of Percy Aldridge Grainger: An historical
and analytic study with a new performance edition (volumes I and II)
(Doctoral dissertation, University of Texas, Austin). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8728692)
Rogers chronicles the history and various incarnations of the Hill Songs
and includes a new wind arrangement of Hill Song No. 1. The author
examines each work in detail, concentrating on aspects of composition that
illustrate the composer’s style. The two works are compared to illustrate
different aesthetics. The composer’s various arrangements of each work are
discussed.
Slattery, T. C. (1967). The wind music of Percy Aldridge Grainger (Doctoral
dissertation, University of Iowa). (UMI No. 6709104, OCLC NO.
1956632)
Slattery explores the entire catalog of Grainger’s wind music. The
document includes a detailed biography, and then describes his music for
wind band and chamber music. Slattery continues with a discussion of
Grainger’s scoring practices and other innovative topics (guitar tuning,
Anglicized expressions, free music, rhythm, and improvisation). He provides
an in‐depth analysis of Lincolnshire Posy and Hill‐Song No. 2, with discussion
as to how the latter relates to Hill‐Song No. 1. The depth of analysis includes
background on the source material, related letters and comments from the
composer, along with a formal analysis.
125
Grainger, Percy Hill song No. 2
Slattery, T. C. (1971). The hill songs of Percy Grainger. Journal of Band
Research, 8(1), 6‐10.
Slattery provides a background for the development of the two hill
songs, along with discussion of the instrumentation, premieres, reception and
a brief analysis of Hill Song No. 2. Analysis includes identifying unifying
elements, scale usage, harmony, and compositional devices.
Tier 2 Metcalf, M. S. (1981). A biography of Percy Aldridge Grainger and analyses of
two of his compositions for wind band (Master thesis, Bowling Green
State University). (OCLC No. 8103787)
Tier 4 Fred, H. W. (1964). Percy Grainger’s music for wind band. Journal of Band
Research, 1(1), 10‐16.
Rogers, R. M. (1991). A chronology of the hill‐songs of Percy Aldridge
Grainger. Journal of Band Research, 27(1), 1‐15.
Winther, R. (2004). An annotated guide to wind chamber music (p. 310).
Miami, FL: Warner Bros. Publications.
Grainger, Percy Irish Tune from County Derry
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 2 2 5 0 12
Tier 1 Fennell, F. (1978). Percy Grainger’s Irish Tune from County Derry and
Shepherd’s Hey. The Instrumentalist, 33(2), 18‐25.
Fennell, F. (2009). Instrumentalist classic: Irish Tune from County Derry. The
Instrumentalist, 64(1), 32‐36, 62.
Fennell presents a description of Grainger’s folk song settings, his
compositional style in terms of harmony and rhythm and the genesis of Irish
Tune. Analysis of Irish Tune begins structurally, and discusses melody,
instrumentation, and tension and release. Conducting challenges are
examined regarding tempo, balance, the “cantilena” line, and the final
cadence. Shepherd’s Hey is examined in terms of its possible source dance,
and Grainger’s use of variation in terms of dynamics, texture, rhythm,
instrumentation and tempo. Examples of the condensed score of each work
are included, along with a commentary on Grainger’s terminology.
126
Grainger, Percy Irish Tune from County Derry
Thompson, K. W. (2004). Historical and analytical issues relating to Percy
Grainger’s folksong compositions for band (Doctoral dissertation,
University of Iowa). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 3139422)
Thompson discusses the life of Grainger, with specific emphasis on his
views and methods of folk song collection and its impact on the
ethnomusicology. Grainger’s style is examined, utilizing chronological analysis
of Irish Tune from County Derry, Ye Banks and Braes O’ Bonnie Doon, Molly on
the Shore, and Shepherd’s Hey. Lincolnshire Posy is examined further in‐
depth, including discussion of the source tunes, lyrics and singers.
Tier 2 Haston, W. A. (1994). Conducting considerations for selected compositions by
Mozart, Grainger, and Vaughan Williams (Master thesis, University of
Texas at El Paso). (OCLC No. 36005279)
Lusk, R. L. (1973). Percy Grainger's treatment of Irish Tune from County Derry
with emphasis on its bandstration (Master thesis, Texas Tech
University). Retrieved from http://hdl.handle.net/2097/8255
Tier 3 Emge, J. (2010). Irish Tune from County Derry, Percy Grainger. In R. Miles
(Ed.), Teaching Music Through Performance in Band (Vol. 1, Second
ed., pp. 498‐504). Chicago, GIA Publications.
Irish Tune from County Derry, Percy Grainger (1997). In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, pp. 255‐258).
Chicago, GIA Publications.
Tier 4 Aldrich, M. (2004). A catalog of folk song settings for wind band (p. 122).
Galesville, MD: Meredith Music Publications.
Battisti, F. & Garofalo, R. J. (1990). Guide to score study for the wind band
conductor. Galesville, MD: Meredith Music.
Brooks, D. S. (2008). An examination of works for wind band and woodwind
choir: Brasiliana by Joao Guilherme Ripper, Irish Tune from County
Derry by Percy Grainger and arranged by Frank Erickson, and Celtic
Hymns and Dances by Eric Ewazen (Master thesis, Kansas State
University). (OCLC No. 228032859)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
127
Grainger, Percy Irish Tune from County Derry
Wilson, B. S. (1992). Orchestrational archetypes in Percy Grainger’s wind band
music (Doctoral dissertation, University of Arizona). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9229855)
Grainger, Percy Lincolnshire Posy
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
11 4 3 7 0 25
Tier 1 Bruning, E. H., Jr. (1980). A survey and handbook of analysis for the
conducting and interpretation of seven selected works in the standard
repertoire for wind band (Doctoral dissertation, Ball State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8120740)
Bruning utilized a panel of experts to select seven seminal works for
wind band: Dahl’s Sinfonietta for Band; Giannini’s Symphony No. 3 for Band;
Grainger’s Lincolnshire Posy; Hindemith’s Symphony in B‐flat; Persichetti’s
Symphony No. 6, Op. 69; Reed’s La Fiesta Mexicana; and Schoenberg’s Theme
and Variations, Op. 43a. Each work is analyzed in detail. The author presents
a collection of performance and rehearsal challenges and solutions provided
from a surveyed panel of experts. The document includes interviews and/or
letters from Vincent Persichetti, H. Robert Reynolds and Percy Grainger.
Fennell, F. (1980). Basic Band Library: Lincolnshire Posy Part I. The
Instrumentalist, 34(10), 42‐48.
Fennell, F. (1980). Basic Band Library: Lincolnshire Posy Part, II. The
Instrumentalist, 35(2), 15‐20.
Fennell, F. (1980). Basic Band Library: Lincolnshire Posy Part III. The
Instrumentalist, 35(3), 28‐36.
Each article is one in a three part series where Fennell provides
commentary and analysis on each movement of Lincolnshire Posy. Part one
addresses background of the work, Grainger’s biography, and the first two
movements. Part two contains analysis of the third movement and a
commentary on mixed meter. Part three contains analysis of the final three
movements and some final thoughts by Fennell. Each chapter analysis
addresses form, instrumentation, use of orchestration, style, compositional
technique, conducting and performance issues, and includes an extensive list
of errata.
128
Grainger, Percy Lincolnshire Posy
Goza, D. (1997). Lincolnshire Posy: A Personal View. Journal of Band Research,
33(1), 34‐91.
Goza presents a discussion of each movement of Posy from a textural
point of view, both in context of musical texture and relation to the original
folksong text. His analyses examines the principal voices, balance, and
contrast of each verse, discussing their character, and even gender. Form,
tonality, harmony and cadence are all examined, as well as analogous
discussion to the textural context. Performance problems are discussed at the
end of each movement’s analysis.
Pittman, Jr., D. S. (1979). Percy Grainger, Gustav Holst, and Ralph Vaughan
Williams: A comparative analysis of selected wind band compositions
(Doctoral dissertation, Memphis State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8120740)
Pittman utilizes Schenkerian theory to examine and compare three
works: Grainger’s Lincolnshire Posy, Holst’s Second Suite in F, and Vaughan
Williams’ Folk Song Suite. Analyses focus on elements of tonality, harmony,
melody, rhythm, form, instrumentation, and performance practices. Pittman
discusses the similar use of elementary structural forms, and differences
between Grainger and both Holst and Vaughan Williams in harmony, rhythm
and scoring.
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Colgrass’ Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation and background of the works. A structural
analysis includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestral aspects.
129
Grainger, Percy Lincolnshire Posy
Slattery, T. C. (1967). The life and work of Percy Grainger, Part II, Lincolnshire
Posy. The Instrumentalist, 22(5), 47‐49.
In this second of a two part series (the first introducing Grainger’s
other works for winds), Slattery discusses the settings of folk tunes in Posy.
Analysis is brief, and discusses the use of variation with orchestration,
harmonic structure and accompaniment within the otherwise unaltered folk
tunes melodies. Tonal outlines and formal structures are identified, as well as
meter and rhythmic considerations.
Slattery, T. C. (1967). The wind music of Percy Aldridge Grainger (Doctoral
dissertation, University of Iowa). (UMI No. 6709104, OCLC NO.
1956632)
Slattery explores the entire catalog of Grainger’s wind music. The
document includes a detailed biography, and then describes his music for
wind band, and smaller ensembles. Slattery continues with a discussion of
Grainger’s scoring practices and other innovative topics (guitar tuning,
Anglicized expressions, free music, rhythm, and improvisation). He provides
an in‐depth analysis of Lincolnshire Posy and Hill‐Song No. 2, with discussion
as to how the latter relates to Hill‐Song No. 1. The depth of analysis includes
background on source material, related letters and comments from the
composer, along with formal analysis.
Thompson, K. W. (2004). Historical and analytical issues relating to Percy
Grainger’s folksong compositions for band (Doctoral dissertation,
University of Iowa). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 3139422)
Thompson discusses the life of Grainger, with specific emphasis on his
views and methods of folk song collection and its impact on the
ethnomusicology. Grainger’s style is examined, utilizing chronological analysis
of Irish Tune from County Derry, Ye Banks and Braes O’ Bonnie Doon, Molly on
the Shore, and Shepherd’s Hey. Lincolnshire Posy is examined further in‐
depth, including discussion of the source tunes, lyrics and singers.
130
Grainger, Percy Lincolnshire Posy
Winkle, W. A. (1976). Grainger’s Lincolnshire Posy: An early masterpiece for
wind band (Doctoral dissertation, University of Northern Colorado).
(UMI No. 7711092, OCLC No. 5119352)
Winkle examines Grainger, and the background and musical aspects of
Lincolnshire Posy, concluding with a discussion regarding the artistic value of
the work and the wind band as a musical medium. In his background
discussion, the author considers Grainger in America, the wind band
repertoire and the historical and present day reputation of the work. Rather
than providing a measure‐by‐measure formal analysis, Winkle organizes the
document by discussion topic: Formal conceptions, melody, rhythm,
harmony, scoring, and interpretation. The document includes an authorized
facsimile of the original score.
Tier 2 Bourne, W. (2000). Folksong and mode in Grainger's A Lincolnshire Posy.
Australasian Music Research, 5, 105‐112.
Crane, D. G. (1986). Percy Grainger's Lincolnshire Posy: Historical background
and analysis (Master thesis, Central Washington University). (OCLC
No. 22899142)
Holtz, S. M. (2009). Percy Grainger and Ralph Vaughan Williams: A
comparative study of English folk‐song settings for wind band
(Doctoral dissertation, University of Texas, El Paso). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 1473871)
Wilkins, J. T. (1998). Free‐music in Grainger’s Rufford Park Poachers (Master
thesis) Retrieved from ProQuest Dissertations and Theses. (UMI No.
1389468)
Tier 3 Goza, D. (2010). Lincolnshire Posy, Percy Aldridge Grainger. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, Second ed., pp.
840‐853). Chicago, GIA Publications.
Lincolnshire Posy, Percy Grainger (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 410‐414). Chicago, GIA
Publications.
Rapp, W. (2005). The wind band masterworks of Holst, Waughan Williams,
and Grainger (pp. 60‐74). Galesville, MD: Meredith Music Publications.
131
Grainger, Percy Lincolnshire Posy
Tier 4 Beard, C. E. (2003). Excerpts for flute from the wind band literature: An
annotated guide for practice, performance, and auditions preparation,
presented as a progressive supplementary teaching method (Doctoral
treatise, University of Texas, Austin).
(http://hdl.handle.net/2152/12546)
Birdwell, J. C. (1996). The utilization of folk song elements in selected works by
Ralph Vaughan Williams and Percy Grainger with subsequent
treatment exemplified in the wind band music of David Stanhope
(Doctoral thesis, University of North Texas). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9627528)
Fred, H. W. (1964). Percy Grainger’s music for wind band. Journal of Band
Research, 1(1), 10‐16.
Graddy, S. (1988). Grainger, Persichetti, and the piccolo, an examination of
the piccolo parts in Grainger's Lincolnshire Posy and Persichetti's
Symphony for Band (Symphony #6). The Instrumentalist, 52, 50.
Harvey, B. M. (2007). Essential excerpts for tuba from original works written
for wind ensemble (Doctoral dissertation, University of North Carolina
at Greensboro). Retrieved from http://libres.uncg.edu/ir/uncg/f/umi‐
uncg‐1311.pdf
Wilson, B. S. (1992). Orchestrational archetypes in Percy Grainger’s wind band
music (Doctoral dissertation, University of Arizona). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9229855)
Young, E. M. (1994). A performing and teaching guide to the clarinet excerpts
in five major works for band (Doctoral dissertation, University of North
Carolina, Greensboro). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9520544)
Hahn, Reynaldo Le Bal de Beatrice d'Este
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 3 0 4
132
Grainger, Percy Lincolnshire Posy
Tier 1 Barber, C. A. (2000). An introduction to Reynaldo Hahn’s Le Bal de Béatrice
d’Este (Suite por instruments à vent, deux harpes at un piano). Journal
of Band Research, 36(1), 47‐64.
Barber examines Hahn’s life, education, significant compositions and
extra‐musical interests. The investigation illuminates his compositional style,
the influence of Massenet, Mozart and Faure and that of the theatre. Barber
discusses the historical genesis of the work, along with technical and stylistic
considerations for the performer. Further examination of musical aspects
includes discussion of rhythmic devices, harmony and formal elements. A
suggested listening list is included.
Tier 4 Chase, J. G. (2011). Le Bal de Beatrice Deste by Reynaldo Hahn: A critical
edition (Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3450617)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Winther, R. (2004). An annotated guide to wind chamber music (pp. 292‐293).
Miami, FL: Warner Bros. Publications.
Harbison, John Music for 18 Winds
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 2 0 3
Tier 1 Markoch, J. R. (1995). Analysis: Music for Eighteen Winds by John Harbison.
Journal of Band Research, 30(2), 1‐ 26.
Markoch presents a brief description of Harbison’s biography, style
and the genesis of the work. Descriptive analysis outlines two contrasting
sections of the work: Urban and rural. Each section is described in terms of its
rhythm, dynamics, texture, motive use and other compositional techniques.
Distinguishing features of the work are outlined in terms of theme
presentation, extreme register scoring, and unique compositional techniques.
A chronological analysis follows which describes the harmonic, rhythmic and
orchestration aspects of each section and how they apply to the overall
structure of the composition.
133
Harbison, John Music for 18 Winds
Tier 4 Scott, J. J. (2003). An examination of Olympic Dances by John Harbison
(Doctoral dissertation, University of Washington). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3091065)
Winther, R. (2004). An annotated guide to wind chamber music (pp. 322‐323).
Miami, FL: Warner Bros. Publications.
Hindemith, Paul Concerto for Organ and Wind Instruments (Kammermusik
No. 7, op. 46, no. 2)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 0 0 0 2
Tier 1 Gibson, E. C. (1969). A study of the major organ works of Paul Hindemith: The
three sonatas and the two concerti. (Doctoral dissertation, University
of Rochester). Retrieved from ProQuest Dissertations and Theses.
(UMI No. 0246233)
Gibson examines major organ works of Hindemith in order to discuss
the composer’s stylistic traits regarding melody, harmony, rhythm,
counterpoint and form (sonatas and concerti). Chronological analyses of both
organ concertos are included, focusing on articulation, instrumentation,
texture and form. Gibson examines other stylistic influences on Hindemith’s
organ works, specifically those of the concerto, sonata, canzonetta forms, the
use of cantus firmi and other borrowed materials.
Brandes, J. H. (1977). The organ as an ensemble instrument: Concerto
techniques in the sinfonia of Cantata BWV 169 by Johann Sebastian
Bach, Concerto for Organ and Chamber Orchestra, op. 46 no. 2 by Paul
Hindemith, and Organ Concerto in G Minor by Francis Poulenc
(Doctoral dissertation, Ohio State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 7805799, OCLC No.
4177877)
Brandes examines the history of the organ as a solo instrument, and
then provides brief analyses of three works, which indicate its formal
structural and describes how the organ interacts with the ensemble.
134
Hindemith, Paul Geschwindmarsch from Symphony Serena
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 1 0 0 2 3
Tier 2 Neumeyer, D. (1987). Tonal form and proportional design in Hindemith's
music. Music Theory Spectrum, 9, 93‐116.
Tier F Allroggen G. (2005). The genesis of the Symphonia Serena by Paul Hindemith.
Hindemith‐Jahrbuch/Annales Hindemith, 34, 79‐98.
Laaf, E. (n. d.). Hindemith’s Symphony Serena. Melos, 15, 328‐333.
Hindemith, Paul Konzertmusik, Op. 41
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 1 4 2 9
Tier 1 Lubaroff, S. (2005). Paul Hindemith’s op. 41, Konzertmusik für Blasorchester.
Journal of Band Research, 40(2), 1‐19.
Lubaroff examines the life of Hindemith, including influences and
important compositional milestones. The history of the Donaueschingen
Festival is discussed, including the circumstances for the writing of the
Konzertmusik. Lubaroff examines the history of the work and its original
instrumentation with modern substitutions. A chronological analysis
examines thematic structure, where each theme or variation is described in
terms of its motivic, melodic, harmonic and orchestration structure.
Post, J. B. (2000). Symphonic reflections: For intermediate college‐level wind
ensemble with a review of existing literature and a detailed analysis
(Doctoral dissertation, University of Northern Colorado). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9999514)
Post asserts the end of the twentieth century signifies an end of a
music era, divided into four periods: Impressionism/Primitivism,
Neoclassicism, Pervasive serialism/Avant‐Garde, and The New Tonality. A
work from each period is analyzed as the basis for a movement of an original
composition: Stravinsky’s Symphonies of Wind Instruments; Hindemith’s
Konzertmusick fur Blasorchester, Op. 41; Boulez’s ritual in memoriam Bruno
maderna; and Rogers’ Prevailing Winds. The chronological analysis is based
on the form and structure of the work, focusing on compositional techniques.
135
Hindemith, Paul Konzertmusik, Op. 41
Tier 3 Carmichael, J. C. (2000). Konzertmusik, Paul Hindemith. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 3, pp. 706‐717).
Chicago, GIA Publications.
Tier 4 Bircher, D. R. (1988). The brasswind idiom in Paul Hindemith's large
instrumental works (Doctoral dissertation, University of Cincinnati).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8903611)
Carmichael, J. C. (1994). The wind band music of Hindemith, Krenek, Pepping,
Toch and others from the 1926 Donaueschingen Music Festival: An
analysis of historical and artistic significance (Doctoral dissertation,
Florida State University). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9514709)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Stedman, P. (1979). The symphony (pp. 333‐337). Englewood Cliffs, NJ,
Prentice‐Hall.
Tier F Reichardt, H. (2011). The case for symphonic wind music: Paul Hindemith's
Konzertmusik, op. 41 for wind orchestra and his Symphony in B‐flat for
concert band. Germany: Pfau‐Verlag Saarbrucken.
Schubert, G. (1980). The context and meaning of Hindemith's so‐called
concert works. Hamburger Jahrbuch fur Musikwissenschaft, 4, 85‐114.
Hindemith, Paul Symphony in B‐flat
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
9 3 2 7 1 22
Tier 1 Belcik, M. G. (1996). Paul Hindemith’s Symphony in B‐flat for concert band
(Doctoral dissertation, University of Texas, Austin). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9719536)
Belcik discusses the biography of Hindemith, the historical background
and genesis of the composition, analyzes the Symphony, and includes
solutions to rehearsals and performance issues. Analysis examines form,
harmony, rhythm, orchestration and thematic material, focusing on the
development of themes.
136
Hindemith, Paul Symphony in B‐flat
Bruning, E. H., Jr. (1980). A survey and handbook of analysis for the
conducting and interpretation of seven selected works in the standard
repertoire for wind band (Doctoral dissertation, Ball State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8120740)
Bruning utilized a panel of experts to select seven seminal works for
wind band: Dahl’s Sinfonietta for Band; Giannini’s Symphony No. 3 for Band;
Grainger’s Lincolnshire Posy; Hindemith’s Symphony in B‐flat; Persichetti’s
Symphony No. 6, Op. 69; Reed’s La Fiesta Mexicana; and Schoenberg’s Theme
and Variations, Op. 43a. Each work is analyzed in detail. The author presents
a collection of performance and rehearsal challenges and solutions provided
from a surveyed panel of experts. The document includes interviews and/or
letters from Vincent Persichetti, H. Robert Reynolds and Percy Grainger.
Curley, J. L. (2009). Revealing structural aspects of Paul Hindemith’s
Symphony in B‐flat for concert band through a map: Music analysis
profile (Doctoral dissertation, University of Arizona). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3407957)
Curley utilizes the Hindemith Symphony as an example in his
development of a Music Analysis Profile (MAP). This graphical illustration of a
movements outlines the structure of many musical aspects including: form,
dynamics, themes, phrasing, keys and relationships. Analysis of these musical
aspects is includes in prose as well as a graphic format.
Ferguson, T. C., Jr. (1971). An analysis of four American symphonies for band
(Doctoral dissertation). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 7218224)
Ferguson provides detailed analysis of four symphonies by American
composers: Symphony for Drums and Wind Orchestra (1963) by Warren
Benson; Symphony in B‐flat (1951) by Paul Hindemith; Symphony No.4, Op.
165 (1958) by Alan Hovhaness; and Symphony for Winds and Percussion
(1958) by Thomas Beversdorf. The research provides a complete analysis, but
particularly focuses on formal structure and its use within and among the four
works. Discussion also includes a detailed look at instrumentation and
orchestration.
137
Hindemith, Paul Symphony in B‐flat
Gallagher, C. (1966). Hindemith’s Symphony for Band. Journal of Band
Research, 2(1), 19‐27.
Gallagher presents a brief introduction to and a chronological analysis
of the Symphony. The analysis discusses form and principal motives and
themes, focusing on their development and variation, and placing them in
context of other statements throughout the work. Examination of fugue
sections addresses the variation (inversion, augmentation and transposition)
of the subject along with identifying instrument and accompaniment voices.
Kopetz, B. (1990). Hindemith’s Symphony for band: An interpretive analysis.
The Instrumentalist, 44(8), 24‐28, 30, 32.
Kopetz briefly describes Hindemith, catalogs his works into time
periods and introduces the Symphony. A chronological analysis of each
movement is designed to address conducting challenges and performance
issues within the established structure of the work. Themes, orchestration,
rhythm, dynamics, balance and style issues are discussed.
O’Neal, T. J. (1993). Timbre as a compositional device in selected band
repertoire since 1950. (Doctoral dissertation, University of Arizona).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9322666)
O’Neal examines three works in order to discuss use of timbre: Husa’s
Music for Prague 1968, Schwantner’s …and the mountains rising nowhere,
and Hindemith’s Symphony in B‐flat. Analyses include discussion of major
structural points, themes, dynamics and textural treatment. Timbre and
instrumentation choices are examined more in‐depth for each work,
examining the innovations each composer made in this area.
138
Hindemith, Paul Symphony in B‐flat
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Colgrass’ Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation and background of the work. A structural
analysis includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestral aspects.
Tarwater, W. H., Jr. (1958). Analyses of seven major band compositions of the
twentieth century (Doctoral dissertation, Peabody College). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 5901119)
Tarwater examines seven works for band: Hindemith’s Symphony in B‐
Flat for Band; Holst’s Suite in E‐flat for Band; Jacob’s Music for a Festival;
Persichetti’s Divertimento for Band, Psalm for Band, and Symphony for Band;
and Vaughan Williams’ Toccata Marziale. Analyses are chronological based on
the formal structure of the work, focusing on motives, thematic fragments
and their relationship to the work as a whole. Each analysis includes
biographical, publication and first performance information; instrumentation
and scoring; a summary of style characteristics and discussion of major
rehearsal and performance problems.
Tier 2 Le Page, B. (1993). Symphonies for band – part 1: Hindemith. Winds, 14(3),
13.
Tan, L. Y. C. (2008). A comparative analysis of Hindemith's and Persichetti's
band symphonies from a neoclassical perspective (Master thesis,
National Institute of Education, Nan yang Technological University).
(Call No. MT135 Tan). Retrieved from
http://hdl.handle.net/10497/2453
Vaught, D. (1993). An analysis of Paul Hindemith's Symphony in B [flat] for
concert band, based on The Craft of Musical Composition (Master
thesis, Mankato State University). (OCLC No. 29632583)
139
Hindemith, Paul Symphony in B‐flat
Tier 3 McInturf, M. (2010). Symphony in Bb, Paul Hindemith. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, Second ed., pp.
952‐959). Chicago, GIA Publications.
Symphony in Bb, Paul Hindemith (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 465‐468). Chicago, GIA
Publications.
Tier 4 Berz, W. & Yozviak, A. (2012). A comparative analysis of three recordings of
the symphony in B‐flat conducted by Paul Hindemith. Journal of Band
Research, 47(2), 27‐42.
Bolyard, G. (1963). Band excerpts for cornet (Master thesis, University of
Michigan). (OCLC No. 68793768)
Harvey, B. M. (2007). Essential excerpts for tuba from original works written
for wind ensemble (Doctoral dissertation, University of North Carolina
at Greensboro). Retrieved from http://libres.uncg.edu/ir/uncg/f/umi‐
uncg‐1311.pdf
Johnson, C. J. L. (2005). An annotated collection of twentieth century wind
band excerpts for trumpet (Doctoral Dissertation, Ohio State
University). http://rave.ohiolink.edu/etdc/view?acc_num=
osu1117571186
Nichols, C. R. (2011). A clarinetist’s guide to the audition process and
literature for the premier United States service bands (Doctoral
dissertation, University of Kansas). Retrieved from
https://kuscholarworks.ku.edu/dspace/handle/1808/8028
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Young, E. M. (1994). A performing and teaching guide to the clarinet excerpts
in five major works for band (Doctoral dissertation, University of North
Carolina, Greensboro). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9520544)
Tier F Reichardt, H. (2011). The case for symphonic wind music: Paul Hindemith's
Konzertmusik, op. 41 for wind orchestra and his Symphony in B‐flat for
concert band. Germany: Pfau‐Verlag Saarbrucken.
140
Holst, Gustav Hammersmith, Op. 52
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 0 3 6 1 14
Tier 1 Cantrick, R. (1977). Hammersmith and the two worlds of Gustav Holst. Journal
of Band Research, 12(2), 3‐11.
Cantrick discusses the rediscovery of Hammersmith, Holst’s views on
the work regarding its serious artistic intent, and the area in London that it
portrays. The author catalogs the story of securing score and parts for a world
premiere performance after 25 years of neglect. Cantrick describes the work
with theatrical effect, mentioning tonality, motives, and orchestration as
appropriate. Further description compares the work to events in Holst’s life
and personality.
Fennell, F. (1977). Gustav Holst’s Hammersmith. The Instrumentalist, 31(10),
52‐59.
Reprinted: Fennell, F. (1980). Basic band repertory: British band classics from
the conductor's point of view. Evanston, IL: The Instrumentalist.
Fennell discusses the commission and dedication of the work. After a
brief formal overview, analysis of each structural section is presented in
terms of performance difficulties, texture and instrumentation. A separate
commentary of performance suggestions is included, as well as multiple
musical examples and errata.
Mitchell, J. C. (1980). Gustav Holst: The works for military band (Doctoral
dissertation, University of Illinois). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 8108607)
Mitchell outlines the history of the British military band, Holst’s
involvement with them, both as a player, conductor and composer. Holst’s
stylistic characteristics are discussed in terms of form, melody, harmony
rhythm, texture, dynamics, and instrumentation. The same characteristics are
used to compare analyses of Hammersmith and the First Suite in E‐flat.
Comparisons of versions of the First Suite, Second Suite, and Hammersmith
are included.
Tier 3 Hammersmith, Gustav Holst (1997). In R. Miles (Ed.), Teaching Music Through
Performance in Band (Vol. 1, pp. 403‐406). Chicago, GIA Publications.
141
Holst, Gustav Hammersmith, Op. 52
Mitchell, J. C. (2010). Hammersmith, Gustav Holst. In R. Miles (Ed.), Teaching
Music Through Performance in Band (Vol. 1, Second ed., pp. 821‐832).
Chicago, GIA Publications.
Rapp, W. (2005). The wind band masterworks of Holst, Waughan Williams,
and Grainger (pp. 21‐25). Galesville, MD: Meredith Music Publications.
Tier 4 Beard, C. E. (2003). Excerpts for flute from the wind band literature: An
annotated guide for practice, performance, and auditions preparation,
presented as a progressive supplementary teaching method (Doctoral
treatise, University of Texas, Austin).
(http://hdl.handle.net/2152/12546)
Mitchell, J. C. (1984). The premieres of Hammersmith. CBDNA Journal, 1(1),
18‐27.
Reprinted: Mitchell, J. C. (2003). The premieres of Hammersmith. In M. Votta
(ed.), The Wind Band and Its Repertoire (pp. 111‐121). Van Nuys, CA:
Alfred Music Publishing.
Mitchell, J. C. (1986). Gustav Holst: The Hammersmith sketches. CBDNA
Journal, 2(2), 8‐17.
Reprinted: Mitchell, J. C. (2003). Gustav Holst: The Hammersmith sketches. In
M. Votta (Ed.), The Wind Band and Its Repertoire (pp. 100‐110).
Warner Brothers Publications.
Young, E. M. (1994). A performing and teaching guide to the clarinet excerpts
in five major works for band (Doctoral dissertation, University of North
Carolina, Greensboro). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9520544)
Tier F Mitchell, J. C. (1990). From Kneller Hall to Hammersmith: The band works of
Gustav Holst. In A. Suppan (ed.), Alta Musica (Vol. 11). Germany: Hans
Schneider Tutzing.
142
Holst, Gustav Suite No. 1 in E‐flat
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
5 8 5 8 0 26
Tier 1 Fennell, F. (1975). The Holst Suite in E‐Flat. The Instrumentalist, 29(9), 27‐33.
Fennell presents basic information on the work, a background on
Holst, and the history of the work’s acceptance in the repertoire. Each
movement is analyzed in terms of structure, scoring, tempos, errata,
dynamics, and performance demands. Fennell focuses on the performance of
stylistic indications in the movements and also provides commentary of
specific conducting challenges in the work.
Gallagher, C. (1965). Thematic derivations in the Holst First Suite In E‐flat.
Journal of Band Research, 1(2), 6‐10.
Gallagher presents a chronological analysis of the First Suite. The first
movement is discussed in terms of the ground bass and the development of
variations. The second movement is discussed in terms of form, themes,
orchestration developments and harmonization. The third movement is
examined in terms of the initial motive and instrumentation as the themes
are developed. Musical examples of the initial motives are included.
Mitchell, J. C. (1980). Gustav Holst: The works for military band (Doctoral
dissertation, University of Illinois). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 8108607)
Mitchell outlines the history of the British military band, Holst’s
involvement with them, both as a player, conductor and composer. Holst’s
stylistic characteristics are discussed in terms of form, melody, harmony
rhythm, texture, dynamics, and instrumentation. The same characteristics are
used to compare analyses of Hammersmith and the First Suite in E‐flat.
Comparisons of versions of the First Suite, Second Suite, and Hammersmith
are included.
143
Holst, Gustav Suite No. 1 in E‐flat
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Colgrass’ Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation and background of the work. A structural
analysis includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestrational aspects.
Tarwater, W. H., Jr. (1958). Analyses of seven major band compositions of the
twentieth century (Doctoral dissertation, Peabody College). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 5901119)
Tarwater examines seven works for band: Hindemith’s Symphony in B‐
Flat for Band; Holst’s Suite in E‐flat for Band; Jacob’s Music for a Festival;
Persichetti’s Divertimento for Band, Psalm for Band, and Symphony for Band;
and Vaughan Williams’ Toccata Marziale. Analyses are chronological based on
the formal structure of the work, focusing on motives, thematic fragments
and their relationship to the work as a whole. Each analysis includes
biographical, publication and first performance information; instrumentation
and scoring; a summary of style characteristics and discussion of major
rehearsal and performance problems.
Tier 2 Danielsen, D. H. (2010). A graduate recital in wind band conducting featuring
analysis of: Gustav Holst's First suite in E‐flat, Ney Rosauro's Japanese
overture, and Daniel Bukvich's Inferno (Master thesis, Kansas State
University). (OCLC No. 642824809)
Helfter, P. J. (1999). Analyzing four pieces of wind band literature from a
conductor's point of view (Master thesis, University of North Dakota).
(OCLC No. 44166973)
Huddleston, H. O. (1969). Holst's First Suite in Eb for military band: An analysis
(Master thesis, Kansas State University). (OCLC No. 31489538)
Kraft, M. R. (1991). Departmental project in conducting: A creative project
(Master thesis, Trenton State College). (OCLC No. 34199032)
144
Holst, Gustav Suite No. 1 in E‐flat
Snider J. E. (2005). An examination of major works for wind band, chamber
ensemble : "First Suite in E‐flat for Military Band" by Gustav Holst,
"Dance Mix" by Rob Smith (Master thesis, Kansas State University).
(OCLC No. 61717332)
Stith, K. R. (1975). An analysis of the First Suite in E‐flat by Gustav Holst
(Master thesis, Kansas State University). (OCLC No. 31885150)
Udell, B. (1982). Gustav Holst’s First Suite in E‐Flat Major for Military Band.
Music Educators Journal, 69, 27‐30.
Wurz, R. E. (1981). Study, rehearsal and performance of Gustav Holst's First
Suite in Eb: Chaconne (Master thesis, Central Washington University).
(OCLC No. 33669179)
Tier 3 Emge, J. (2010). First Suite in E‐flat, Gustav Holst. In R. Miles (Ed.), Teaching
Music Through Performance in Band (Vol. 1, Second ed., pp. 488‐497).
Chicago, GIA Publications.
First Suite in E‐flat, Gustav Holst (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, 251‐254). Chicago, GIA
Publications.
Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith
Music Publications.
Garofalo, R. J. & Battisti, F. L. (2005). Lead and inspire: A guide to expressive
conducting. Silver Spring, MD: Whirlwind Music.
Rapp, W. (2005). The wind band masterworks of Holst, Waughan Williams,
and Grainger (pp. 1‐10). Galesville, MD: Meredith Music Publications.
Tier 4 Bailey, W. (2009). Conducting: The art of communication. New York: Oxford
University Press.
Harvey, B. M. (2007). Essential excerpts for tuba from original works written
for wind ensemble (Doctoral dissertation, University of North Carolina
at Greensboro). Retrieved from http://libres.uncg.edu/ir/uncg/f/umi‐
uncg‐1311.pdf
Holst's First Suite: A century of memories (2009). The Instrumentalist, 64(5),
12‐15.
145
Holst, Gustav Suite No. 1 in E‐flat
Langfitt, N. A. (2008). Percussion in Holst's First Suite. The Instrumentalist,
62(10), 42.
Mitchell, J. C. (1982). Early performances of the Holst suites for military band.
Journal of Band Research, 17(2), 44‐50.
Nichols, C. R. (2011). A clarinetist’s guide to the audition process and
literature for the premier United States service bands (Doctoral
dissertation, University of Kansas). Retrieved from
https://kuscholarworks.ku.edu/dspace/handle/1808/8028
O'Toole, P. A. (2003). Shaping sound musicians; An innovative approach to
teaching comprehensive musicianship. Chicago: GIA Publications.
Ouellette, D. M. (1997). The revised version edition of Gustav Holst's First
Suite in E♭ for military band: A comparison with the autograph
manuscript (Master thesis, University of Southern Maine). (OCLC No.
61709165)
Holst, Gustav Suite No. 2 in F
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 1 5 3 0 12
Tier 1 Fennell, F. (1977). Gustav Holst's Second Suite in F for Military Band. The
Instrumentalist, 32(4), 42‐52.
(Research Document unavailable, missing from library)
Garofalo, R. J. (2011). Interpreting Gustav Holst's Second Suite in F, a fresh
look at British band classic on its 100th anniversary. The
Instrumentalist, 66(3), 18‐22, 90‐91.
Garofalo discusses the Second Suite in terms of his experience. A brief
introduction outlines the movements and the folk tunes from which they
originated. Instrumentation is examined regarding revisions and the
autograph. Each movement is examined in turns of form and a discussion of
orchestration of the folk tunes, as well as tonality, harmony, style and text
painting. Errata for the Colin Matthews revised edition is included.
146
Holst, Gustav Suite No. 2 in F
Pittman, Jr., D. S. (1979). Percy Grainger, Gustav Holst, and Ralph Vaughan
Williams: A comparative analysis of selected wind band compositions
(Doctoral dissertation, Memphis State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8120740)
Pittman utilizes Schenkerian theory to examine and compare three
works: Grainger’s Lincolnshire Posy, Holst’s Second Suite in F, and Vaughan
Williams’ Folk Song Suite. Analyses focus on elements of tonality, harmony,
melody, rhythm, form, instrumentation, and performance practices. Pittman
discusses the similar use of elementary structural forms, and differences
between Grainger and both Holst and Vaughan Williams in harmony, rhythm
and scoring.
Tier 2 Garofalo, R. (1986). Standard works for band: Gustav Holst's Second Suite in
F. Music Educators Journal, 72(4), 30.
Tier 3 Belser, R. (2010). Second Suite in F, Gustav Holst. In R. Miles (Ed.), Teaching
Music Through Performance in Band (Vol. 1, Second ed., pp. 559‐567).
Chicago, GIA Publications.
Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith
Music Publications.
Garofalo, R. J. & Battisti, F. L. (2005). Lead and inspire: A guide to expressive
conducting. Silver Spring, MD: Whirlwind Music.
Rapp, W. (2005). The wind band masterworks of Holst, Waughan Williams,
and Grainger (pp. 11‐20). Galesville, MD: Meredith Music Publications.
Second Suite in F, Gustav Holst (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 286‐293). Chicago, GIA
Publications.
Tier 4 Harvey, B. M. (2007). Essential excerpts for tuba from original works written
for wind ensemble (Doctoral dissertation, University of North Carolina
at Greensboro). Retrieved from http://libres.uncg.edu/ir/uncg/f/umi‐
uncg‐1311.pdf
Mitchell, J. C. (1982). Early performances of the Holst suites for military band.
Journal of Band Research, 17(2), 44‐50.
147
Honegger, Arthur Le Roi David (17 winds, soloists and chorus)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 7 1 6 6 21
Tier 1 Medawar, J. (1988). A performance guide to Arthur Honegger's King David
(Doctoral thesis, University of Southern California). (OCLC No.
51474128)
(Research document unavailable)
Tier 2 Bass, C. L. (1960). Phrase structure and cadence treatment in Stravinsky's
"Symphonie de Psaumes" and Honegger's "Le Roi David" (Master
thesis, University of Oklahoma). (OCLC No. 24485491)
Bucher, S. E. (1970). Analysis of King David by Arthur Honegger (Master
thesis, University of Rochester). (OCLC No. 21721135)
Lynch, R. M. (1957). A study of Le Roi David and Jeanne d'Arc au Bucher
(Master thesis, University of Michigan). (OCLC No. 68789183)
Perez, H. (2002). King David, Arthur Honegger: An analysis (Master thesis, City
College of New York). (OCLC No. 49962245)
Pethel, J. F. (1956). Harmonic devices of Arthur Honegger in Le Roi David
(Master thesis, Union Theological Seminary). (OCLC No. 505325414)
Ruple, C. A. (n.d.). Arthur Honegger: His life and works, with specific emphasis
on King David (Master thesis, Union Theological Seminary). (OCLC No.
505322025)
Spratt, G. K. (1978). Honegger's Le Roi David: A reassessment. The Music
Review, 39(1), 54‐60.
Tier 3 Spratt, G. K. (1987). The music of Arthur Honegger. Cork, Ireland: Cork
University Press.
Tier 4 Baker, H. A. (1968). Arthur Honegger and King David. Amor Artis Bulletin, 7(1),
1‐2, 10‐12.
Halbreich, H. & Pauly, R. G. (1999). Arthur Honegger. Portland, OR: Amadeus
Press.
148
Honegger, Arthur Le Roi David (17 winds, soloists and chorus)
Hines, R. S. (2006). Arthur Honegger's three versions of King David. Choral
Journal, 46(8), 33‐39.
Sistrunk, G. W. (1972). A comparison of the two orchestrations of King David
by Arthur Honegger (Doctoral dissertation, University of Miami).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 7231921)
Steinberg, M. (2005). Choral masterworks: A listener's guide. New York:
Oxford University Press.
Winther, R. (2004). An annotated guide to wind chamber music (p. 369).
Miami, FL: Warner Bros. Publications.
Tier F Brodel, C. (1997). Arthur Honegger's Le Roi David: Observations on the music.
Musik und Kirche, 67(5), 318‐324.
Jasińska, D. (1979). Arthur Honegger's Le Roi David. Muzyka: Kwartalnik
Poświęcony Historii I Teorii Muzyki, 24(2), 79‐94.
Kessler, R. (1997). Arthur Honegger's Le Roi David: Remarks of an exegete.
Musik und Kirche, 67(5), 314‐318.
Roy, J. (1992). Le roi David by Honegger: A new style of oratorio. L'education
Musicale, 47(392), 3‐7. (FR)
Roy, J. (1992). Le roi David by Honegger. Chant Choral: Le Journal du Chant
Choral, 35, 3‐6.
Voss, H. D. (1980). Arthur Honegger: Le Roi David. A contribution to the
history and problematic aspects of the oratorio in the 20th century.
Germany: Katzbichler Munchen.
149
Husa, Karel An American Te Deum (Voice, choir and band)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 0 0 1
Tier 1 Tam, A. C. (1986). Karel Husa: An American Te Deum (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 8622264)
Tam describes the biography of Husa and provides a brief catalog of
his choral works. A separate examination of the textual context of the
composition is presented, including background, placement in the score,
translations and rhyming schemes. Organized by subject, the analysis
addresses formal procedures, compositional techniques, musical symbolism,
vocal style and instrumentation. The author includes solutions to score
preparation and performance issues, as well as a complete text,
instrumentation, and a sketch of the drum ceremony.
Husa, Karel Apotheosis of this Earth
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 4 2 6 0 12
Tier 2 Hesterkin, K. K. (1976). Structural elements in Karel Husa's "Apotheosis of this
Earth" (Master thesis, University of Wisconsin ‐ Madison). (OCLC No.
63235322)
Scatterday, M. D. (1993). Karel Husa: Apotheosis of this Earth. BDGuide, 8(1),
10‐20.
Smith, J. L. (1978). An analysis of Karel Husa's Music for Prague 1968 and
Apotheosis of this Earth (Master thesis, Sam Houston State
University). (OCLC No. 246724627)
Smith, M. S. (2000). An analysis of Karel Husa's Apotheosis of this Earth: A
thesis in music theory and history (Master thesis, Pennsylvania State
University). (OCLC No. 50382744)
Tier 3 Birdwell, J. C. (2000). Apotheosis of This Earth, Karel Husa. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 3, pp. 612‐631).
Chicago, GIA Publications.
150
Husa, Karel Apotheosis of this Earth
Scatterday, M. D. (2009). Apotheosis of this Earth: Karel Husa. In K. L. Neidig
(ed.), Performance‐Study Guides of Essential Works for Band.
Galesville, MD: Meredith Music Publications.
Tier 4 Beard, C. E. (2003). Excerpts for flute from the wind band literature: An
annotated guide for practice, performance, and auditions preparation,
presented as a progressive supplementary teaching method (Doctoral
treatise, University of Texas, Austin).
(http://hdl.handle.net/2152/12546)
Husa, K. (1973). Apotheosis of this Earth: Some thoughts. Journal of Band
Research, 9(2), 6‐9.
Husa, K. (1973). Meet the composer: Karel Husa – Apotheosis of the Earth.
The Instrumentalist, 28(1), 35‐36.
McLaurin, D. (1987). Karel Husa's contributions to the wind band. CBDNA
Journal, (4), 24.
Reprinted: McLaurin, D. (2003). Karel Husa's contributions to the wind band.
In M. Votta (ed.). The Wind Band and Its Repertoire (pp. 122‐135). Van
Nuys, CA: Alfred Music Publishing.
Montgomery, R. M. (2005). The use of the voice in five selected works for
band (Doctoral dissertation, University of Arizona). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3205465)
151
Husa, Karel Concerto for Alto Saxophone and Concert Band
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 1 0 1 0 5
Tier 1 Burns, K. R. (2000). Karel Husa’s Concerto for Alto Saxophone and Concert
Band: A performers analysis (Doctoral dissertation, Louisiana State
University). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 9984311)
Burns examines the Concerto utilizing Allen Forte’s set theory method
of melodic and harmonic analysis. Rhythmic analysis addresses Husa’s
philosophy and dialectic approach to meter and pulse, where rhythm ideas
are not necessarily grouped to a regular meter pattern. Set theory was used
to analyze pitch classes in the opening motive, and how it is developed and
related to rhythm, dynamics, orchestration and formal structure.
Cummings, C. C. (2008). Perspectives on Husa's Concerto for Alto Saxophone
and Concert Band. Journal of Band Research, 44(1), 40‐75.
Cummings provides an extremely in‐depth and detailed background
and analysis of the Saxophone Concerto including examples and formal
structure charts. Background on the commission of the work and Husa’s
introduction to the saxophone is presented along with the development of
the work as Husa’s first for the wind medium. Analysis of the work outlines
the temporal plan from Poeme and Husa’s use of tone rows. Each movement
is examined with reference to conversations with Husa, its inspiration and a
chronological discovery via motives and their development.
Duff, J. A. (1982). Three works of Karel Husa: An analytical study of form,
style, and content (Doctoral dissertation, Michigan State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8308929)
Duff examines the form and style of three of Husa’s works: Fantasies
for Orchestra, Concerto for Alto Saxophone and Concert Band, and Concerto
for Percussion and Wind Ensemble. Background instrumentation and formal
structure are addressed by each piece followed by an in‐depth analysis. The
chronological analysis focuses on motivic themes and methods used to
achieve cohesiveness across the work. The compositions are compared in
terms of style and compositional techniques.
152
Husa, Karel Concerto for Alto Saxophone and Concert Band
Tier 2 Impola, C. (n. d.). An analysis of Concerto for alto saxophone and concert band
by Karel Husa (Master thesis, Eastern Michigan University). (OCLC No.
4103437)
Tier 4 Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Husa, Karel Concerto for Percussion and Wind Ensemble
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 1 0 0 0 5
Tier 1 Dietz, B. W. (2004). Historical and analytical aspects of four percussion
ensemble concerti with wind symphony (Warren Benson, Toshiro
Mayuzumi, Karel Husa, Michael Colgrass) (Doctoral thesis,
Northwestern University). (OCLC No. 56555094)
Dietz examines four works for percussion and winds: Bensons’
Symphony for Drums and Wind Ensemble, Mayuzumi’s Concerto for
Percussion and Wind Orchestra, Husa’s Concerto for Percussion and Wind
Ensemble, and Colgrass’ déjà vu for percussion quartet and wind ensemble.
Each work includes a biography of the composer, an analysis of the work,
comments regarding performance issues, and a selected output involving
percussion. Analyses focuses on orchestration between percussion and the
ensemble, and rhythm and meter indications. Dietz also provides an
instrumentation list and selected list of other percussion concerti with wind
ensemble.
Duff, J. A. (1982). Three works of Karel Husa: An analytical study of form,
style, and content (Doctoral dissertation, Michigan State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8308929)
Duff examines the form and style of three of Husa’s works: Fantasies
for Orchestra, Concerto for Alto Saxophone and Concert Band, and Concerto
for Percussion and Wind Ensemble. Background information and formal
structure are addressed by each piece followed be an in‐depth analysis. The
chronological analysis focuses on motivic themes and methods used to
achieve cohesiveness across the work. The compositions are compared in
terms of style and compositional techniques.
153
Husa, Karel Concerto for Percussion and Wind Ensemble
Duff, J. A. (2002). Karel Husa's Concerto for Percussion and Wind Ensemble:
An analysis. WASBE Journal, 9, 24‐39.
(Research document unavailable, no library subscription)
Molineaux, A. (1985). The elements of unity and their applications on various
levels of the first movement of Karel Husa's Concerto for Wind
Ensemble. Journal of Band Research, 21(1), 43‐49.
Molineaux examines the first movement of Husa’s Concerto utilizing a
three‐tiered approach regarding its organizational elements. At the largest
level of organization, the author examines the two major sections, their
tonality, structural divisions, and pitch cells. At the middle level, subsections
are analyzed in terms of pitch cells, motivic figures and tonality implications.
Molineaux utilizes representative examples to identify and examine “local
level usage of organizational elements.”
Tier 2 Desarno, R. E. (1985). Preparation and performance of Concerto for
Percussion and Wind Ensemble by Karel Husa (Master thesis, California
State University, Long Beach). Retrieved from ProQuest Dissertations
and Theses. (UMI No. 1325732)
Husa, Karel Music for Prague 1968
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
5 5 4 2 1 17
Tier 1 Adams, B. (1987). Karel Husa’s Music for Prague 1968: An interpretive
analysis. The Instrumentalist, 42(3), 19‐24.
Adams discusses the inspiration and first performances of Music for
Prague 1968. He examines the traditional Czech melodies and their use in
other works, along with Husa’s use of the 12‐tone system. Analysis discusses
the overall form, and provides brief commentary on each section of the work,
identifying source materials. Adams discusses conducting and performance
challenges from both a technical and emotional standpoint. Errata and
discography are included.
154
Husa, Karel Music for Prague 1968
Casey, R. L. (1971). Serial composition in works for the wind band (Doctoral
dissertation, Washington University in St. Louis). (UMI No. 7127319,
OCLC No. 6869358)
Casey examines serial techniques in seven works for wind band:
Latham’s Dodecaphonic Set, Erickson’s Earth Song, Smith’s Somersault,
Bielawa’s Spectrum, Schuller’s Meditation, Husa’s Music for Prague 1968, and
Rochberg’s Apocalyptica. Each work is discussed in terms of a composer
biography, its instrumentation, formal structure, and analysis of specific
sections, including source materials and specific use of the subsequent tone
rows.
Neal, C. M. (2002). Karel Husa’s Music for Prague 1968: An exploration of
compositional process and historical background. (Doctoral
dissertation, University of Oklahoma). Retrieved from ProQuest
Dissertations and Theses. (3042515)
Neal explored Music for Prague 1968 regarding Husa’s use of serial
technique and symmetrical relationships. Analysis of each movement is
interspersed with discussion on the programmatic elements of the work as
they relate to the development of Czech nationalism. Serial techniques are
analyzed in detail and discussed as a unifying element across the work, from
strict use of complete rows to the lack of serial procedures in the fourth
movement. Neal examines the concept of symmetry in terms of
compositional techniques and their external meaning.
O’Neal, T. J. (1993). Timbre as a compositional device in selected band
repertoire since 1950. (Doctoral dissertation, University of Arizona).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9322666)
O’Neal examines three works in order to discuss use of timbre: Husa’s
Music for Prague 1968, Schwantner’s …and the mountains rising nowhere,
and Hindemith’s Symphony in B‐flat. Analyses include discussion of major
structural points, themes, dynamics and textural treatment. Timbre and
instrumentation choices are examined more in‐depth for each work,
discussing the innovations each composer made in this area.
155
Husa, Karel Music for Prague 1968
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Congress’s Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation and background of each work. A structural
analysis includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestral aspects.
Tier 2 Boone, D. K. (1982). An analysis of the use of Klangfarbenmelodie in Karel
Husa's music for Prague 1968 (Master thesis, University of Southern
Mississippi). (OCLC No. 10362855)
Davidson, R. C. (1976). An analysis of growth in Karel Husa’s Music for Prague
1968 (Master thesis, North Texas State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 1308559)
Scatterday, M. D. (n. d.). Karel Husa: Music for Prague 1968. BDGuide, 6(3).
Smith, J. L. (1978). An analysis of Karel Husa's Music for Prague 1968 and
Apotheosis of this Earth (Master thesis, Sam Houston State
University). (OCLC No. 246724627)
Woo, A. G. (1992). Karel Husa's Music for Prague 1968 for concert band: An
analysis and discussion of conducting performance practices (Master
thesis, University of California, Los Angeles). (OCLC No. 26744617)
Tier 3 Hinton, E. L. (2008). Conducting the wind orchestra: Meaning, gesture, and
expressive potential. Amherst, NY: Cambria Press.
Music for Prague 1968, Karel Husa (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 420‐428). Chicago, GIA
Publications.
Scatterday, M. (2009). Music for Prague 1968: Karel Husa. In K. L. Neidig
(ed.), Performance‐Study Guides of Essential Works for Band.
Galesville, MD: Meredith Music Publications.
156
Husa, Karel Music for Prague 1968
Stone, T. (2010). Music for Prague 1968, Karel Husa. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Volume 1, Second ed.,
pp. 860‐869). Chicago, GIA Publications.
Tier 4 Pare, C. T. (1993). An examination of innovative percussion writing in the band
music of four composers: Vincent Persichetti‐‐Symphony for band;
Karel Husa‐‐Music for Prague 1968; Joseph Schwantner‐‐and the
mountains rising nowhere; Michael Colgrass‐‐Winds of Nagual
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9329971)
Wolverton, A. H. (2002). Preparation and performance of Karel Husa’s Music
for Prague 1968: A conductor’s guide (Doctoral dissertation, University
of Southern Mississippi). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 3071090)
Tier F Blahunek V. (2007). Karel Husa: Music for Prague 1968 ‐ a comparison of two
orchestrations by the composer. In J. Bajgarova (ed.), Military music in
the culture and history of the Czech lands (pp. 431‐437). Praha, Czech
Republic: Akademie Věd České Republiky (Etnologický Ústav).
Jacob, Gordon William Byrd Suite
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 0 3 3 1 11
Tier 1 Fennell, F. (1975). William Byrd Suite. The Instrumentalist, 30(2), 35‐41.
Reprinted: Fennell, F. (1980). Basic band repertory: British band classics from
the conductor's point of view. Evanston, IL: The Instrumentalist.
Reprinted: Fennell, F. (2005). A classic from our archives: A performance
analysis of "William Byrd Suite". Instrumentalist, 59(8), 21‐22, 25‐28,
30, 32, 34, 36, 38.
After a brief biography of Byrd, Fennell examines each movement in
detail from the perspective of performance issues. He outlines structure,
harmony, use of percussion, dynamics, variation and other compositional
techniques. Musical examples are included, as well as a list of errata.
157
Jacob, Gordon William Byrd Suite
Whiston, J. A. (1987). Gordon Jacob: A biographical sketch and analysis of four
selected works for band (Doctoral dissertation, University of
Oklahoma). Retrieved from ProQuest Dissertations and Theses.
(303603891)
Whiston examines the biography of Jacob along with four works:
William Byrd Suite, Flag of Stars, Concerto for Band, and Celebration Overture.
Analyses discuss form and design, melodic structure, rhythm, texture, scoring,
style and performance suggestions. Also included are interview notes and/or
letters with the composer, Bernard Stevens, and Margaret Jacob.
Tier 3 Garofalo, R. J. & Battisti, F. L. (2005). Lead and inspire: A guide to expressive
conducting. Silver Spring, MD: Whirlwind Music.
Trachsel, A. (2010). William Byrd Suite, Gordon Jacob. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, Second ed., pp.
783‐799). Chicago, GIA Publications.
William Byrd Suite, Gordon Jacob (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 385‐388). Chicago, GIA
Publications.
Tier 4 Bridges, R. S. (1994). The William Byrd Suite of Gordon Jacob: A study in
performance practice (Master thesis, University of California, Los
Angeles). (OCLC No. 31390447)
Trachsel, A. J. (2007). Toward a critical edition of Gordon Jacob’s William Byrd
Suite: A comparison of extant editions with the Fitzwilliam Virginal
Book (Doctoral dissertation, University of North Texas). Retrieved
from ProQuest Dissertations and Theses. (304817139)
Weeks, C. L. (1997). Gordon Jacob’s William Byrd Suite: A corrected edition
(Doctoral dissertation, University of Houston). Retrieved from
ProQuest Dissertations and Theses. (304351331)
Tier F Beeler, N. (2007). Unit plan for Gordon Jacob's William Byrd Suite. Canadian
Winds, 85‐88.
158
Kurka, Robert The Good Soldier Schweik Suite, Op. 22
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 0 2 0 4
Tier 1 Burch‐Pesses, M. (1998). Robert Kurka and The Good Soldier Schweik. CBDNA
Journal, (13), 13‐17.
Reprinted: Burch‐Pesses, M. (2003). A composer at the threshold of a career
of real distinction: Robert Kurka and The Good Soldier Schweik. In M.
Votta (Ed.), The Wind Band and Its Repertoire (pp. 152‐155). Warner
Brothers Publications.
Burch‐Pesses discusses Kurka’s biography, the inspiration, and
development of both the opera The Good Soldier Schweik and the Suite.
Analysis includes an overview of the tonality, stylistic influence and
instrumentation of the Suite, and outlines some performance issues. Themes
are identified and discussed in terms of their jazz influence and the opera’s
story line. Reference is made to an errata list in the CBDNA Report.
Tier 4 Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Winther, R. (2004). An annotated guide to wind chamber music (p. 314).
Miami, FL: Warner Bros. Publications.
Lopatnikoff, Nikolai Concerto for Wind Orchestra, Op. 41
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 2 0 2
Tier 4 Ladd, J. S. (2009). An annotated bibliography of contemporary works
programmable by wind band and orchestra (Doctoral dissertation,
Florida State University). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 3385327)
Olfert, W. D. (1992). The development of a wind repertoire: A history of the
American Wind Symphony Orchestra (Doctoral dissertation, Florida
State University). Retrieved from ProQuest Dissertations and Theses.
(UMI No. 9234241)
159
Mahler, Gustav "Um Mitternacht" from Aus den Ruckert Lieder
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 3 5 8
Tier 4 Lemoh, A. Y. (2009). Mahler's journey: Transcending the tyranny of time in
Um Mitternacht and Ich bin der Welt abhanden gekommen (Master
thesis, University of Melbourne). (OCLC No .607873285)
Posey, T. M. (2010). A graduate voice recital (Master thesis, Belmont
University). (OCLC No. 668214612)
Warren, S. L. (2006). A performance recital (Master thesis, Belmont
University). (OCLC No. 166426893)
Tier F Bohdan, P. (1989). Gustav Mahler: Um Mitternacht, to a text of Friedrich
Rückert (1901). In M. Tomaszewski (Ed.), Form and expression in lyric
compositions for voice, 1808‐1909: Interpretations (pp. 209‐220).
Crakow, Poland: Academy of Music in Crakow.
Jackson, T. L. (1999). Die Wagnersche umarmungs‐metapher bei Bruckner
und Mahler. In A. Riethmuller (Ed.), Bruckner‐Probleme (pp. 134‐152).
Stuttgart: Steiner.
Mitchell, D. (1985). Gustav Mahler: Songs and symphonies of life and death.
London: Faber and Faber.
Oltmanns, M. J. (n. d.). Ich bin der welt abhanden gekommen' und Der
Tamboursg'sell ‐ Zwei liedkonzeptionen Gustav Mahlers. Archiv fur
Musikwissenschaft, 43(1), 69‐88.
Roman, Z. (2000). Allegory, symbolism, and personification in selected night
songs by Liszt, Mahler and Strauss. Studia Musicologica, 41(4), 407‐
439.
160
Maslanka, David A Child’s Garden of Dreams
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 1 2 1 5
Tier 1 Booth, D. M. (1994). An analytical study of David Maslanka’s A Child’s Garden
of Dreams (Doctoral dissertation, University of Oklahoma). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9422774)
Booth discusses the program, genesis and background of the work.
The author examines the composition as a whole in terms of its
instrumentation, texture, tonality, harmony, rhythm and meter,
augmentation and diminution, superimposed motives, use of melodic
gestures, structural transitions, overall formal structure and stylistic
characteristics. Chronological analysis of each movement in detail focuses on
its structure, programmatic implications, instrumentation, texture and
implications to the development of the works as a whole.
Tier 3 Wubbenhorst, T. M. (2000). A Child’s Garden of Dreams, David Maslanka. In
R. Miles (Ed.), Teaching Music Through Performance in Band (Vol. 3,
pp. 592‐610). Chicago, GIA Publications.
Tier 4 Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Wubbenhorst, T. (1994). A Child’s Garden of Dreams: Conversations with
David Maslanka. CBDNA Journal, (10), 2‐8.
Tier F Jourdan, J. (2001). David Maslanka: "A Child's Garden of Dreams: for
symphonic wind ensemble: An analysis of the work and a description
of the methodology used in this work compositional technique (Master
thesis, Germany, University of Music, Basel). (OCLC No. 730820838)
161
Mendelssohn, Felix Ouverture fur Harmoniemusik, Op. 24
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 1 2 3 0 9
Tier 1 Gambill, T. G. (1979). Contemporary editions of nineteenth century wind band
literature (Doctoral dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 7926749)
Gambill discussed the body of wind literature composed in the
nineteenth century. He examined six works in greater detail: Beethoven’s
Militair‐marsch, Mendelssohn’s Ouverture fur Harmoniemusik, Holloway’s
Wood Up, Wagner’s Trauersinfonie and Huldigungsmarsch, and Grieg’s
Trauermarsch. Analyses include the history and genesis of the work, and an
examination of the form, harmonic and thematic treatment. Commentary on
the modern edition and a facsimile of the first edition score are included.
Geraldi, K. (2009). Felix Mendelssohn's Nocturno/Overture, Opus 24: A study
in context, composition and performance. The Journal of Band
Research, 44(2), 13‐44.
Geraldi presents an extensive and in‐depth look at the background,
structure and performance of the Overture. Mendelssohn’s life and education
are discussed, including significant events affecting his compositional style
and output. The history of Nocturno is considered, including its initial
performances and publishing history, along with Mendelssohn’s proclivity for
revision. An analysis of the original 1826 score with comments on the 1839
overture version is presented in a chronological format, focusing on timbre
and texture of the writing and orchestration. Along with each section’s
analysis, a commentary of the author’s rehearsal experiences and challenges
is included. Document includes examples and an chart of the formal
structure.
Johns, M. (2002). Mendelssohn’s Overture for Band: An interpretive analysis.
The Instrumentalist, 56(11), 27‐30.
While Johns primarily discusses performance and conducting issues of
the Overture, some analysis is included. Chronological analysis outlines the
formal structure of each movement, examining tonality, rhythm, cadence,
dynamics and balance as necessary, followed by suggestive comments for
performance. Included are charts comparing the arrangements, and an outset
that discusses original reviews by John Paynter of the works various versions.
162
Mendelssohn, Felix Ouverture fur Harmoniemusik, Op. 24
Tier 2 Garofalo, R. J. (1991). Mendelssohn: Overture for Band. BDGuide, 5(3).
Tier 3 Garofalo, R. (2009). Overture for Winds: Felix Mendelssohn‐Bartholdy. In
Neidig, K. L. (ed.) Performance‐Study Guides of Essential Works for
Band. Galesville, MD: Meredith Music Publications.
Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith
Music Publications, 1.
Tier 4 Boyd, J. P. (1981). Ouverture Fuer Harmoniemusik op. 24 by Felix
Mendelssohn‐Bartholdy: An edition for contemporary wind band
(volumes I and II) (Doctoral dissertation, University of Missouri, Kansas
City). Retrieved from ProQuest Dissertations and Theses. (UMI NO.
8207610)
Reed, D. F. (1982). The original version of the Overture for Wind Band of Felix
Mendelssohn‐Bartholdy. Journal of Band Research, 18(1), 3‐10.
Winther, R. (2004). An annotated guide to wind chamber music (p. 253).
Miami, FL: Warner Bros. Publications.
Messiaen, Olivier Colors of the Celestial City
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 5 0 2 3 13
Tier 1 Montgomery, M. A. (1989). Musical and poetical structures in Olivier
Messiaen's Couleurs de la cité céleste and Ted Hughes's Crow
(Doctoral thesis, Ohio University). (UMI No. 9005406, OCLC No.
25146143)
Montgomery discusses the Walter Pater essay, The Renaissance,
where he asserts that physical art aspires to music in how the latter combines
form and content. The author utilizes this concept to discuss Messiaen’s
treatise: Technique de mon langage musical, to apply his philosophies, and to
analyze Couleurs and Hughes’ Crow. The analyses include discussions of the
program, explanation of the color chords, and examinations of form, melody,
birdsong, plainchant, harmony, rhythm, timbre, texture, tempo, dynamics
and range.
163
Messiaen, Olivier Colors of the Celestial City
Quilling, H. L. (1985). An analysis of Olivier Messiaen’s Couleurs de la cite
celeste (Doctoral dissertation, University of California, Santa Barbara).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8503752)
Along with documentation of Quilling’s own compositions, the author
examined Messiaen’s compositional techniques in terms of historical,
mystical and religious viewpoint. The composition is analyzed in terms of
Messiaen’s interest in religion, bird‐song, color and Hindu and Greek rhythms.
Included is a detailed chart indicating each component, formal structure and
orchestration.
Shepard, B. K. (1982). The symbolic elements of Messiaen’s work for wind
ensemble, Couleurs de la cite céleste. Journal of Band Research, 18(1),
52‐59.
Shepard does not provide a detailed analysis of Couleurs, but
identifies the different symbolic elements used throughout the work. Melodic
and harmonic elements are identified as bird‐song, plainchant and color
chords. Rhythmic tala are also identified as to their references. Tables include
a list of bird songs used, and a formal analysis identifies the birdsongs,
plainchants and color chords.
Tier 2 Cheong, W‐L. (2010). Plainchants as coloured time in Messiaen's Couleurs de
la Cité Céleste. Tempo, 64(254), 20‐37.
Dodds, M. (1977). Messiaen's structural and formal procedures in
Chronochromie and Couleurs de la Cité Céleste (Bachelor honors
thesis, Dunedin, New Zealand, University of Otago). (OCLC No.
710816952)
Griffiths, P. (1978). Catalogue de couleurs: Notes on Messiaen's tone colours
on his 70th birthday. The Musical Times, 119(1630), 1035‐1037.
Sholl, R. P. (1996). Structure and counter‐structure, metaphor and multiple
meaning in Oliver Messiaen's Couleurs de la Cité Céleste (Master
thesis, London, England: University of London). (OCLC No. 729614589)
Wallendorf, P. S. (1981). The role of textural design in the music of Olivier
Messiaen: a study of Couleurs de la Cité Céleste (Master thesis, North
Texas State University). (OCLC No. 9740307)
164
Messiaen, Olivier Colors of the Celestial City
Tier 4 Folio, C. J. (1979). Silence as a compositional device in selected twentieth
century musical compositions (Master thesis, University of Rochester).
(OCLC No. 8470984)
Von Gunden, H. C. (1977). Timbre as symbol in selected works of Olivier
Messiaen (Doctoral dissertation, University of California, San Diego).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 7717199)
Tier F Fichet, L. (2009). Harmonic colors of Couleurs de la cite celeste by Messiaen.
In M. Fischer (Ed.), Seven views on the works of Olivier Messiaen (pp.
33‐41). Paris, France: University of Paris ‐ Sorbonne.
Leblanc, B. (1967). La couleur en musique (Master thesis, Canada, University
of Montreal). (OCLC No. 53773454)
Mathon, G. (1995). Couleurs de la Cite Celeste: Points of analysis. Musurgia:
Preparation for Tests in Music Analysis, 2(1), 140‐158
Messiaen, Olivier Oiseaux Exotiques (Piano and Wind Orchestra)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 4 1 3 3 11
Tier 2 Cheong, W‐L. (2003). Messiaen's chord tables: Ordering the disordered.
Tempo, 57(226), 2‐10.
Hettergott, A. (1996). Several idiophone sounds depicting bird calls as given
by Olivier Messiaen's Oiseaux Exotiques. Acta Acustica United With
Acustica, 82(Suppl. 1), 185.
Šimundža, M. (1988). Messiaen's rhythmical organization and classical Indian
theory of rhythm. II. International Review Of The Aesthetics And
Sociology Of Music, 19(1), 53.
Thomson, A., Hill, P., & Simeone, N. (2008). Olivier Messiaen: Oiseaux
Exotiques. The Musical Times, 149(1902), 91.
Tier 3 Hill, P. & Simeone, N. (2007). Oliver Messiaen: Oiseaux Exotiques. Burlington,
VT: Ashgate Publishing Company.
165
Messiaen, Olivier Oiseaux Exotiques (Piano and Wind Orchestra)
Tier 4 Fallon, R. J. (2005). Messiaen’s mimesis: The language and culture of the bird
styles (Doctoral dissertation, University of California, Berkeley).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 3210577)
Jancarz, C. L. (2007). Symphonic imagery, an original composition and an
examination of three similar programmatic compositions (Doctoral
dissertation, University of Miami). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 3267705)
Welsh, I. D. (2005). Color, timbre, and resonance: Developments in Olivier
Messiaen’s use of percussion between 1956‐‐1965. (Doctoral
dissertation, University of Miami). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 3198746)
Tier F Bessière, M. (1987). Oiseaux Exotiques, d'Olivier Messiaen: De la nature a
l'oeuvre musicale. Analyse Musicale, 7, 62.
Holcomb, P. (1996). Oiseaux Exotiques by Olivier Messiaen: A proposed
rehearsal guide. In W. Suppan (Ed.), Kongressbericht Abony/Ungarn.
Tutzing, Germany: Hans Schneider.
Yu, Zhi (2010). Analysis of Messiaen's musical creation and the representative
work Oiseaux Exotiques. Yueqi/Musical Instrument, 2, 51‐53.
Messiaen, Olivier Resurrectionem Mortuorum
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 1 3 3 3 13
Tier 1 Harper, W. H. (1986). Olivier Messiaen’s Et Exspecto Resurrectionem
Mortuorum (with) composition: I’ve Known Rivers (original
composition) (Doctoral dissertation, University of Rochester).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8703978)
Harper discusses the concepts and goals of the work, and the guiding
principals of Messiaen’s compositional approach as defined in The Technique
of My Musical Language. Messiaen’s concept of “The charm of
impossibilities,” is examined through the topics: modes of limited
transposition, non‐retro gradable rhythms, prime numbers and structural
symmetries. Use of bird‐song, acoustical reference, plainchant, Greek and
Hindu rhythms, and Sonata‐Allegro form are also examined in detail.
166
Messiaen, Olivier Resurrectionem Mortuorum
Lee, C. (2011). The charm of impossibilities: Musical language, theology and
narrative discourse in Olivier Messiaen’s Et Exspecto Resurrectionem
Mortuorum (Doctoral dissertation, State University of New York,
Buffalo). Retrieved from ProQuest Dissertations and Theses. (UMI No.
3460770)
Lee provides a brief background on the composition, and examines
Messiaen’s use of harmony in terms of modes, chords and colors. A detailed
chronological analysis includes detailed analytical and programmatic
descriptions of harmonic structures utilizing set theory analysis. The
document includes extensive appendices addressing chord tables, bird‐song,
plainchant and development of sets.
Renshaw, J. H. (1991). Olivier Messiaen’s Et Exspecto Resurrectionem
Mortuorum: An interpretive analysis. The Instrumentalist, 46(4), 28‐
30, 32, 34.
Renshaw discusses Messiaen’s place in the development of serial
music, the importance of his use of rhythm, and bird song. Analysis of the
four movements includes discussion on elements of bird songs, modes of
limited transposition, Hindu rhythms, non‐retro gradable rhythms, structural
symmetry, prime numbers, chant, and chords of resonance. The article
includes formal diagrams, musical examples, and Messiaen’s definitions for
the aforementioned terms.
Tier 2 Surak, R. (1975). A comparative study of Messiaen's The Technique of my
musical language and Et Ex[s]pecto Resurrectionem Mortuorum
(Master thesis, Philadelphia Musical Academy). (OCLC No. 216932174)
Tier 3 Lee, M. (2010). Biblical narrative and musical symbolism in Messiaen's 'Et
Exspecto Resurrectionem mortuorum'. In Crispin, J. (Ed.), Olivier
Messiaen: The centenary papers (pp. 122‐157). Newcastle upon Tyne,
England: Cambridge Scholars.
Mailman, M. (2002). Et Exspecto Resurrectionem Mortuorum pour Orchestre
de Bois, Cuivres et Percussions Metalliques, Oliver Messiaen. In R.
Miles (Ed.), Teaching Music Through Performance in Band (Vol. 4, pp.
781‐798). Chicago, GIA Publications.
Nelson, D. (2010). Stratification of music and symbol in the fourth movement
of Messiaen's 'Et exspecto resurrectionem mortuorum'. In Crispin, J.
(Ed.), Olivier Messiaen: The centenary papers (pp. 205‐231). Newcastle
upon Tyne, England: Cambridge Scholars.
167
Messiaen, Olivier Resurrectionem Mortuorum
Tier 4 Nelson, D. L. (1992). An analysis of Olivier Messiaen’s chant paraphrases
(volumes I and II) (Doctoral dissertation, Northwestern University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9309426)
Von Gunden, H. C. (1977). Timbre as symbol in selected works of Olivier
Messiaen (Doctoral dissertation, University of California, San Diego).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 7717199)
Welsh, I. D. (2005). Color, timbre, and resonance: Developments in Olivier
Messiaen’s use of percussion between 1956‐‐1965. (Doctoral
dissertation, University of Miami). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 3198746)
Tier F Aubigny, B. (2009). Et Exspecto Resurrectionem Mortuorum d'Olivier
Messiaen: Perspectives apocalyptiques. In M. Fischer (Ed.), Seven
views on the works of Olivier Messiaen (pp. 43‐56). France: Universite
de Paris IV.
Cazes, A. (2010). Et Exspecto Resurrectionem Mortuorum d’ Olivier Messiaen:
Une perspective pratique d’interprétation. Canadian Winds, 9(1), 26.
Cheong, W. L. (2004). Composing with pre‐composed chords in the finale of
"Et Exspecto Resurrectionem Mortuorum". Revue De Musicologie,
90(1), 115‐132.
168
Milhaud, Darius Suite Francaise, Op. 248
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 3 3 5 0 14
Tier 1 McWilliams, R. (2004). Darius Milhaud’s Suite Française: A wind band classic.
Journal of Band Research, 40(1), 22‐37.
McWilliams discusses Milhaud’s biography, important compositions
and style. A brief overview and background is given on Suite Francaise,
followed by a more detailed analysis of each movement. McWilliams
describes the region that inspired each movement and provides a structural
outline. The thematic material is examined in terms of melody, tonality and
instrumentation, and placed in context of the movement’s formal structure.
Prindl, F. J. (1956). A study of ten original compositions for band published
since 1946 (Doctoral dissertation, Florida State University) Retrieved
from ProQuest Dissertations and Theses. (UMI No. 0017029)
This analytical research is one of the earliest found on wind band core
repertoire. Prindl looks at ten compositions: Creston’s Celebration Overture
and Zanoni, Gould’s Ballad for Band, Hanson’s Chorale and Alleluia,
Lockwood’s The Closing Doxology, Milhaud’s Suite Francaise, Persichetti’s
Pageant, Schoenberg’s Theme and Variations, Schuman’s George Washington
Bridge, and Thomson’s A Solemn Music. Analyses include a biographical
sketch of the composer, general comments on style, overview of the formal
structure, harmonic and rhythmic analysis, instrumentation, and an
examination of performance and rehearsal issues.
Stone, S. (1999). Darius Milhaud's Suite Francaise, of folk songs and the
sorrows of war. The Instrumentalist, 53(1), 31‐36.
Stone briefly describes Milhaud’s relationship to Les Six and the
events leading to the inspiration and composition of Suite Francaise. Each
movement is described in terms of the use of folk songs and the city’s relation
to events of World War II. Instrumentation and melodic lines are presented,
along with discussion of tension, harmony, tempo, rhythm and meter. A
separate commentary on the instrumentation is included.
169
Milhaud, Darius Suite Francaise, Op. 248
Tier 2 Bernard‐Stevens, S. A. (2012). An examination of works for wind band, brass
ensemble and percussion ensemble: "Suite Franc̦aise" by Darius
Milhaud, "Hats off to thee" by John Zdechlik and "Mercury rising" by
Nathan Daughtrey (Master thesis, Kansas State University). (OCLC No.
798823778)
Reynish, T. (2001). Interpreting Milhaud’s Suite Française. Winds, 16(1), 62‐
63.
Sroka, A. V. (2006). A conductor's guide to four works by Darius Milhaud
(Master thesis, Indiana University of Pennsylvania). (OCLC No.
144528481)
Tier 3 Garofalo, R. J. (1998). Suite Française by Darius Milhaud: A teaching‐learning
unit. Ft. Lauderdale, FL: Meredith Music Publications.
McWiliams, R. (2010). Suite Francaise, Darius Milhaud. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, Second ed., pp.
702‐714). Chicago, GIA Publications.
Suite Francaise, Darius Milhaud (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 349‐356). Chicago, GIA
Publications.
Tier 4 Beard, C. E. (2003). Excerpts for flute from the wind band literature: An
annotated guide for practice, performance, and auditions preparation,
presented as a progressive supplementary teaching method (Doctoral
treatise, University of Texas, Austin). http://hdl.handle.net/2152/
12546
Bierman, D. A. (2010). Analysis of performance practice through comparison
of multiple recordings: A proposed methodology and study using
Darius Milhaud’s Suite Francaise (Doctoral dissertation, North Dakota
State University). Retrieved from ProQuest Dissertations and Theses.
(UMI No. 3421091)
Hazan, D. (1996). Darius Milhaud's Suite Franca̦ ise: Background and folkloric
influences (Doctoral thesis, University of South Carolina). (OCLC No.
36021895)
170
Milhaud, Darius Suite Francaise, Op. 248
Miller, S. (1988). The wind ensemble and band composition of Darius
Milhaud. CBDNA Journal, (5), 1‐4.
Reprinted: Miller, S. (2003). The wind ensemble and band composition of
Darius Milhaud. In M. Votta (Ed.), The Wind Band and Its Repertoire
(pp. 147‐151). Warner Brothers Publications.
Perkins, J. R. (1983). Characteristics of nationalistic style in three folk song
settings for band (Master thesis, Western State College of Colorado).
(OCLC No. 9825981)
Mozart, Wolfgang Divertimento No. 3 in E‐flat, K166
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 2 1 4
Tier 1 Gibson, O. L. (1960). The serenades and divertimenti of Mozart (Doctoral
dissertation, North Texas State College) Retrieved from ProQuest
Dissertations and Theses. (UMI No. 6002791)
Gibson examines the entire catalog of serenades and divertimenti of
Mozart (beyond those for winds). After a discussion on the development of
the format and its place in history and the biography of Mozart, the author
organizes the works by instrumentation. Each set is described as a group, and
in detail concerning the composition’s origin, instrumentation, structure,
form, and use of counterpoint.
Tier 4 Vester, F. & Koenig, R. (1999). W.A. Mozart: On the performance of the works
for wind instruments—concertos, divertimentos, serenades, chamber
music. Amsterdam, Netherlands: Broekmans en Van Poppel.
Winther, R. (2004). An annotated guide to wind chamber music (p. 241).
Miami, FL: Warner Bros. Publications.
Tier F Brüstle, C. (2008). Mozart's cassations, serenades, and divertimentos: Aspects
of their terminology, function, and stylistics. Archiv Für
Musikwissenschaft, 65(2), 85.
171
Mozart, Wolfgang Divertimento No. 4 in B‐flat, K186
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 2 1 4
Tier 1 Gibson, O. L. (1960). The serenades and divertimenti of Mozart (Doctoral
dissertation, North Texas State College) Retrieved from ProQuest
Dissertations and Theses. (UMI No. 6002791)
Gibson examines the entire catalog of serenades and divertimenti of
Mozart (beyond those for winds). After a discussion on the development of
the format and its place in history and the biography of Mozart, the author
organizes the works by instrumentation. Each set is described as a group, and
in detail concerning the composition’s origin, instrumentation, structure,
form, and use of counterpoint.
Tier 4 Vester, F. & Koenig, R. (1999). W.A. Mozart: On the performance of the works
for wind instruments—concertos, divertimentos, serenades, chamber
music. Amsterdam, Netherlands: Broekmans en Van Poppel.
Winther, R. (2004). An annotated guide to wind chamber music (p. 241).
Miami, FL: Warner Bros. Publications.
Tier F Brüstle, C. (2008). Mozart's cassations, serenades, and divertimentos: Aspects
of their terminology, function, and stylistics. Archiv Für
Musikwissenschaft, 65(2), 85.
172
Mozart, Wolfgang Serenade No. 10 in B‐flat K361
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 0 0 6 1 11
Tier 1 Ethington, B. P. (1995). Wolfgang Amadeus Mozart’s Serenade in B‐Flat K. 361
(370a) for Twelve Wind Instruments and Contrabass ‘Gran Partita’:
Musical influences and performance considerations (Doctoral
dissertation, University of Texas, Austin). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9603785)
Ethington describes Mozart’s wind divertimenti and serenades,
examining the musical influences on the Gran Partita, especially that of
thematic borrowing. A detailed analysis of the Serenade involves discussion
on thematic source material, key structure, compositional technique,
harmonic implications, orchestration, and formal structure. Ethington
comments on performance issues such as ornamentation, improvisation,
instrumentation and balance.
Ethington, B. P. (1998). Mozart’s Serenade, K. 361/370A, thematic borrowing
and musical influences. CBDNA Journal, (13), 3‐12.
(Research document unavailable)
Gibson, O. L. (1960). The serenades and divertimenti of Mozart (Doctoral
dissertation, North Texas State College) Retrieved from ProQuest
Dissertations and Theses. (UMI No. 6002791)
Gibson examines the entire catalog of serenades and divertimenti of
Mozart (beyond those for winds). After a discussion on the development of
the format and its place in history and the biography of Mozart, the author
organizes the works by instrumentation. Each set is described as a group, and
in detail concerning the composition’s origin, instrumentation, structure,
form, and use of counterpoint.
Nelson, D. (2000). Heightened rhythmic‐activity in a monothematic exposition
by Mozart – the first movement of Serenade, K. 361/370a. Journal of
Band Research, 35(2), 47‐ 74.
Nelson examines the use of rhythm as a device to create interest in a
truncated theme in the first movement of the Serenade. A structural analysis
of sonata form is included, however discussion is limited to the use of rhythm
as a thematic device in the first movement.
173
Mozart, Wolfgang Serenade No. 10 in B‐flat K361
Tier 4 Caulder, S. B. (2005). Historical and performance perspective for oboe from
selected chamber repertoire (Doctoral treatise, Florida State
University). (OCLC No. 135077905)
Rufino, V. J. (2005). Wolfgang Amadeus Mozart's inspiring works for chamber
winds. The Instrumentalist, 60(1), 22‐24, 44, 26, 48.
Rustowicz, R. J (1980). A performance edition of Wolfgang Amadeus Mozart's
Serenade in B Fat Major, K. 361, "Gran Partita" (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. DO16032)
Vester, F. & Koenig, R. (1999). W.A. Mozart: On the performance of the works
for wind instruments—concertos, divertimentos, serenades, chamber
music. Amsterdam, Netherlands: Broekmans en Van Poppel.
Whitwell, D. (1970). Performance problems in Mozart’s Serenade in B‐Flat, K.
361. The Instrumentalist, 25(3), 28‐31.
Winther, R. (2004). An annotated guide to wind chamber music (pp. 287‐289).
Miami, FL: Warner Bros. Publications.
Tier F Brüstle, C. (2008). Mozart's cassations, serenades, and divertimentos: Aspects
of their terminology, function, and stylistics. Archiv Für
Musikwissenschaft, 65(2), 85.
174
Van Otterloo, Willem Symphonietta for Woodwinds
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 1 0 1 0 2
Tier 2 Flothuis, M. (1963). Willem van Otterloo: Sinfonietta for 16 Wind
Instruments. Sonorum Speculum, 16, 20‐23.
Tier 4 Winther, R. (2004). An annotated guide to wind chamber music (p. 307).
Miami, FL: Warner Bros. Publications.
Penderecki, Krzystztof Pittsburgh Overture
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 0 0 1 0 4
Tier 1 Murdock, K. A. (1986). The Pittsburgh Overture by Krzysztof Penderecki (and)
Forging the Circle (original composition) (Doctoral thesis, University of
Rochester). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 8614154)
Murdock discusses the origins of the composition, and examines the
work in terms of its instrumentation. He examines the use of extended
techniques for percussion and piano, indeterminacy, and improvisation
through graphic notation. Pitch and formal organization are examined more
in‐depth.
Tyra, T. N. (1971). Analyses of three twentieth‐century compositions for wind
ensemble (Doctoral thesis, University of Michigan). (OCLC No.
5868326)
Tyra provides in‐depth analysis on three works for wind ensemble:
Stravinsky’s Symphonies of Wind Instruments, Varese’s Octandre, and
Penderecki’s Pittsburgh Overture. For each work, the author examines
historical context: outlining the composer’s biography, the genesis of the
work, and first performances. A detailed stylistic analysis follows, looking at
structure, format, tempos, dynamics, pitch sources, melodic devices,
harmony, instrumentation and orchestration. The research then addresses
formal compositional analysis procedures and performance problems.
175
Penderecki, Krzystztof Pittsburgh Overture
Tyra, T. N. (1973). An analysis of Penderecki's Pittsburgh Overture, part 1.
Journal of Band Research, 10(1), 37‐48.
Tyra discusses Penderecki’s life, education, influences and style, along
with the commission, premier of Pittsburgh Overture. A stylistic analysis
includes discussion on instrumentation, examining the use of non‐traditional
percussion. An examination of pitch sources, their derivations, orchestrations
and developments is included, along with large structural elements. Rhythmic
devices are discussed, including Penderecki’s use of non‐traditional notation
and improvisation.
Tier 4 Tyra, T (1974). An analysis of Penderecki's Pittsburgh Overture, part 2. Journal
of Band Research, 10(2), 5‐12.
Persichetti, Vincent Divertimento for Band, Op. 42
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 7 4 5 0 18
Tier 1 Shetland, R. A., Jr. (2009). Divertimento for Band, opus 42 by Vincent
Persichetti: An analysis of musical energies and interpretive strategies
for the conductor (Doctoral dissertation, California State University,
Long Beach). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 1472361)
Shetland examines the Divertimento in terms of its interpretation for
rehearsal and performance. A chronological analysis is included. The author
describes an interpretation concept of “musical energies” as related to
melody, harmony, rhythm, dynamics, orchestration and texture. A separate
chronological interpretative analysis is discussed according to the
aforementioned topics.
176
Persichetti, Vincent Divertimento for Band, Op. 42
Tarwater, W. H., Jr. (1958). Analyses of seven major band compositions of the
twentieth century (Doctoral dissertation, Peabody College). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 5901119)
Tarwater examines seven works for band: Hindemith’s Symphony in B‐
Flat for Band; Holst’s Suite in E‐flat for Band; Jacob’s Music for a Festival;
Persichetti’s Divertimento for Band, Psalm for Band, and Symphony for Band;
and Vaughan Williams’ Toccata Marziale. Analyses are chronological based on
the formal structure of the work, focusing on motives, thematic fragments
and their relationship to the work as a whole. Each analysis includes
biographical, publication and first performance information; instrumentation
and scoring; a summary of style characteristics and discussion of major
rehearsal and performance problems.
Tier 2 Fennell, F. (1984). Vincent Persichetti: Divertimento for Band. Band, 1(2).
Gallatin, C. T. (1994). A comparative analysis of Divertimento for Band and
Symphony for Band by Vincent Persichetti (Master thesis, Ball State
University). (OCLC No. 32987958)
Opfer, S. R. (1989). Persichetti's Divertimento for Band, Psalm for Band,
Symphony No. 6: a conductor's analytical summation (Master thesis,
California State University, Fullerton). (OCLC No. 20905846)
Poeschl, D. P. (1982). An analysis of Vincent Persichetti's "Divertimento for
Band" opus 42 (Master thesis, University of Wisconsin‐Oshkosh).
(OCLC No. 8320515)
Stanfield, S. L. (1997). An analysis of five symphonic band works: I.
Divertimento by Vincent Persichetti, II. Rejouissance by James Curnow,
III. On an American spiritual by David Holsinger, IV. Forget me not, O
Dearest Lord by Alfred Reed, V. Americans we by Henry Fillmore,
edited by Frederick Fennell (Master thesis, Eastern Kentucky
University). (OCLC No. 796998868)
Vanlandingham, C. (1995). "Divertimento for Band op. 42" by Vincent
Persichetti: A conductor's guide (Bachelor thesis, Arkansas State
University). (OCLC No. 33287300)
Vise, K. D. (1993). Recital thesis: Vincent Persichetti and Divertimento for
Band. (Master thesis, Northwestern State University of Louisiana).
(OCLC No. 32449033)
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Tier 3 Divertimento, Vincent Persichetti (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 319‐322). Chicago, GIA
Publications.
Fennell, F. (2008). A conductor's interpretive analysis of masterworks for band
(pp. 6‐15). Galesville, MD: Meredith Music Publications.
Fennell, F., & Neidig, K. L. (1984). The band's music: Study/performance
essays. Traverse City, MI: Village Press Publications.
Morris, D. (2010). Divertimento, Vincent Persichetti (1997). In R. Miles (Ed.)
Teaching Music Through Performance in Band (Vol. 1, Second ed., pp.
319‐322). Chicago, GIA Publications.
Tier 4 Erdmann, T. (1996). Vincent Persichetti's Divertimento for Band: A rehearsal
analysis. Journal Of The Conductors Guild, 17(1), 41.
Fraschillo, T. (1994). Conducting Persichetti’s Divertimento: An interpretive
analysis. The Instrumentalist, 48(12), 16‐20.
Gaston, R. A. (1995). Vincent Persichetti and Divertimento for Band: A
learning module (Bachelor thesis, Butler University). (OCLC No.
35051779)
Morris, D. A. (1991). The life of Vincent Persichetti, with emphasis on his
works for band (Doctoral dissertation, Florida State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9124626)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Persichetti, Vincent Masquerade for Band, Op. 102
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 1 2 1 0 4
Tier 2 Casey, P. F. (1995). Vincent Persichetti: Masquerade, op. 102 (1965).
BDGuide, 10(1), 2.
Tier 3 Masquerade, Vincent Persichetti (1997). In R. Miles (Ed.) Teaching Music
Through Performance in Band (Vol. 1, pp. 415‐419). Chicago, GIA
Publications.
178
Persichetti, Vincent Masquerade for Band, Op. 102
Stone, T. (2010). Masquerade, Vincent Persichetti (1997). In R. Miles (Ed.)
Teaching Music Through Performance in Band (Vol. 1, Second ed., pp.
415‐419). Chicago, GIA Publications.
Tier 4 Morris, D. A. (1991). The life of Vincent Persichetti, with emphasis on his
works for band (Doctoral dissertation, Florida State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9124626)
Persichetti, Vincent Symphony No. 6, Op. 69
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
7 8 4 10 0 29
Tier 1 Bruning, E. H., Jr. (1980). A survey and handbook of analysis for the
conducting and interpretation of seven selected works in the standard
repertoire for wind band (Doctoral dissertation, Ball State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8120740)
Bruning utilized a panel of experts to select seven seminal works for
wind band: Dahl’s Sinfonietta for Band; Giannini’s Symphony No. 3 for Band;
Grainger’s Lincolnshire Posy; Hindemith’s Symphony in B‐flat; Persichetti’s
Symphony No. 6, Op. 69; Reed’s La Fiesta Mexicana; and Schoenberg’s Theme
and Variations, Op. 43a. Each work is analyzed in detail. The author presents
a collection of performance and rehearsal challenges and solutions provided
from a surveyed panel of experts. The document includes interviews and/or
letters from Vincent Persichetti, H. Robert Reynolds and Percy Grainger.
Carter, R. S. (1991). A study of the chorale preludes for winds by Vincent
Persichetti (1915‐1987) (Doctoral dissertation, University of
Cincinnati). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 9302372)
Carter examines the Persichetti’s chorale preludes of in terms of form,
melody, harmony, rhythm and instrumentation. Works examined include:
Hymns and Responses for the Church Year, Symphony No. 6 for Band (second
movement), So Pure the Star, Turn Not Thy Face and O God Unseen. Carter
discusses the use of improvisation over a cantus firmus, Persichetti’s interest
in the wind medium, musical content of the preludes, and textural placement.
179
Persichetti, Vincent Symphony No. 6, Op. 69
Mullins, J. B. (1967). Three symphonies for band by American composers
(Doctoral dissertation, University of Illinois). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 6711889)
Mullins examines three symphonies for band: Gould’s Symphony for
Band, Persichetti’s Symphony for Band and Giannini’s Symphony for Band.
Each work is introduced with a sketch of the composer’s life, origins and first
performances, and instrumentation of the work. Each symphony is analyzed
in terms of form, melodic and rhythmic structure, harmonic structure and
texture, and instrumentation. These elements are used to discuss the stylistic
concept of the composer and work, and provide a basis for comparison of the
three compositions.
Mullins, J. B. (1969). A comparative analysis of three symphonies for band.
Journal of Band Research, 6(1), 17‐28.
Mullins presents a movement‐by‐movement structural comparison of
the symphonies for band by Giannini, Persichetti and Gould. The form of the
Gould Symphony is first examined. Comparisons and contrasts are drawn as
the author examines the formal structure of the Persichetti and Gould works.
Comparisons are made while discussing topics of melodic structure and
tonality, harmonic structure and texture, rhythmic structure, instrumentation
and aesthetic synthesis.
Persichetti, V. (1964). Symphony No. 6 for Band. Journal of Band Research,
1(1), 17‐20.
The composer authors this descriptive analysis. Persichetti discusses
the commission of the symphony and chronologically discusses the major
themes throughout the work. References to structure, compositional devices
and implied mood are made.
Renshaw, J. H. (1995). The conducting challenges of Persichetti’s Symphony.
The Instrumentalist, 49(11), 18‐22, 24, 26, 28, 30, 61.
Renshaw provides an enormous amount of detail regarding the
compositional process of the Symphony, as well as Persichetti’s compositional
techniques and use of instruments in many of his major works. A
chronological analysis of each movement details source motives, themes, and
how they build into the structure of the work. Commentary on performance
and conducting issues is included, as well as musical examples, structural
charts of each movement and an errata list.
180
Persichetti, Vincent Symphony No. 6, Op. 69
Tarwater, W. H., Jr. (1958). Analyses of seven major band compositions of the
twentieth century (Doctoral dissertation, Peabody College). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 5901119)
Tarwater examines seven works for band: Hindemith’s Symphony in B‐
Flat for Band; Holst’s Suite in E‐flat for Band; Jacob’s Music for a Festival;
Persichetti’s Divertimento for Band, Psalm for Band, and Symphony for Band;
and Vaughan Williams’ Toccata Marziale. Analyses are chronological based on
the formal structure of the work, focusing on motives, thematic fragments
and their relationship to the work as a whole. Each analysis includes
biographical, publication and first performance information; instrumentation
and scoring; a summary of style characteristics and discussion of major
rehearsal and performance problems.
Tier 2 Christie, J. P. (1971). A structural analysis of the Symphony for Band by
Vincent Persichetti (Master thesis, Eastern Illinois University).
Retrieved from http://thekeep.eiu.edu/theses/511
Fennell, F. (1987). Vincent Persichetti: Symphony for Band. Band, 1(4).
Gallatin, C. T. (1994). A comparative analysis of Divertimento for Band and
Symphony for Band by Vincent Persichetti (Master thesis, Ball State
University). (OCLC No. 32987958)
Hardy, M. C. (2009). A graduate recital in wind band conducting : Serenade in
D Minor Op. 44, Antonin Dvor̆ák and Symphony no. 6 (Symphony for
Band), Vincent Persichetti (Master thesis, Kansas State University).
(OCLC No. 320953958)
Le Page, B. (2000). Symphonies for band – part 2: Persichetti. Winds, 15(1),
25.
Opfer, S. R. (1989). Persichetti's Divertimento for Band, Psalm for Band,
Symphony No. 6: a conductor's analytical summation (Master thesis,
California State University, Fullerton). (OCLC No. 20905846)
Rowan, P. A. (1987). An analysis of Vincent Persichetti's Symphony for Band
(Master thesis, Central Washington University). (OCLC No. 20642407)
181
Persichetti, Vincent Symphony No. 6, Op. 69
Tan, L. Y. C. (2008). A comparative analysis of Hindemith's and Persichetti's
band symphonies from a neoclassical perspective (Master thesis,
National Institute of Education, Nan yang Technological University).
(Call No. MT135 Tan). Retrieved from
http://hdl.handle.net/10497/2453
Tier 3 Fennell, F. (2008). A conductor's interpretive analysis of masterworks for band
(pp. 16‐27). Galesville, MD: Meredith Music Publications.
Mailman, M. (2010). Symphony No. 6 for Band, Op. 69, Vincent Persichetti. In
R. Miles (Ed.), Teaching Music Through Performance in Band (Vol. 1,
Second ed., pp. 734‐742). Chicago, GIA Publications.
Simmons, W. (2011). The music of William Schuman, Vincent Persichetti, and
Peter Mennin: Voices of stone and steel. Lanham, MD: Scarecrow
Press.
Symphony No. 6 for Band, Op. 69, Vincent Persichetti (1997). In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, pp. 361‐364).
Chicago, GIA Publications.
Tier 4 Beard, C. E. (2003). Excerpts for flute from the wind band literature: An
annotated guide for practice, performance, and auditions preparation,
presented as a progressive supplementary teaching method (Doctoral
treatise, University of Texas, Austin).
(http://hdl.handle.net/2152/12546)
Cossaboom, S. P. (1981). Compositional and scoring practices for percussion in
symphonies written for concert band: 1950‐1970 (Doctoral
dissertation, University of Connecticut). Retrieved from ProQuest
Dissertations and Theses. (303108066)
Graddy, S. (1988). Grainger, Persichetti, and the piccolo, an examination of
the piccolo parts in Grainger's Lincolnshire Posy and Persichetti's
Symphony for Band (Symphony #6). The Instrumentalist, 52, 50.
Jacob, I. G. (1977). The use of percussion in Symphony No. 6 (Symphony for
Band) by Vincent Persichetti: A functional analysis. The Percussionist,
15(1), 17‐20.
182
Persichetti, Vincent Symphony No. 6, Op. 69
Johnson, C. J. L. (2005). An annotated collection of twentieth century wind
band excerpts for trumpet (Doctoral Dissertation, Ohio State
University). http://rave.ohiolink.edu/etdc/view?acc_num=
osu1117571186
Mast, A. (2010). The markings of a conducting composer: Vincent Persichetti's
marks in his own scores. Journal Of Band Research, 45(2), 73.
Morris, D (1992). Persichetti rediscovered: The manuscripts of Vincent
Persichetti’s band works: Pageant and Symphony No. 6. Journal of
Band Research, 28(1), 21‐30.
Morris, D. A. (1991). The life of Vincent Persichetti, with emphasis on his
works for band (Doctoral dissertation, Florida State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9124626)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Pare, C. T. (1993). An examination of innovative percussion writing in the band
music of four composers: Vincent Persichetti‐‐Symphony for Band,
Karel Husa‐‐Music for Prague 1968, Joseph Schwantner‐‐and the
mountains rising nowhere, Michael Colgrass‐‐Winds of Nagual
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9329971)
Poulenc, Francis Suite Francaise (two harps and nine winds)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 3 0 3
Tier 4 Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Poulenc, F. (1967). Suite Francaise: Transcribed for symphonic band by Robert
L. L'Heureux (Master thesis, Northern Illinois University). (OCLC No.
21587611)
Winther, R. (2004). An annotated guide to wind chamber music (p. 264).
Miami, FL: Warner Bros. Publications.
183
Reed, H. Owen La Fiesta Mexicana
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 1 2 4 0 9
Tier 1 Bruning, E. H., Jr. (1980). A survey and handbook of analysis for the
conducting and interpretation of seven selected works in the standard
repertoire for wind band (Doctoral dissertation, Ball State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8120740)
Bruning utilized a panel of experts to select seven seminal works for
wind band: Dahl’s Sinfonietta for Band; Giannini’s Symphony No. 3 for Band;
Grainger’s Lincolnshire Posy; Hindemith’s Symphony in B‐flat; Persichetti’s
Symphony No. 6, Op. 69; Reed’s La Fiesta Mexicana; and Schoenberg’s Theme
and Variations, Op. 43a. Each work is analyzed in detail. The author presents
a collection of performance and rehearsal challenges and solutions provided
from a surveyed panel of experts. The document includes interviews and/or
letters from Vincent Persichetti, H. Robert Reynolds and Percy Grainger.
Johnson, C. E. (1969). Common musical idioms in selected contemporary wind
band music (Doctoral dissertation). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7011129)
Johnson provides a detailed analysis of eight different works from a
study presented at the fourteenth National Conference of the College Band
Directors National Association of the most frequently programmed works
between 1961‐1966. The study looks in‐depth at the formal structure, key
harmonic structure, cadence points, and phrase structure of each work. It
provides a summary of the work outlining key features across harmony,
phrase, tonal structure, formal structure and thematic materials.
Tier 2 Montgomery, D. W. (2004). An examination of major works for wind band,
brass ensemble, and percussion ensemble: "La fiesta Mexicana" by H.
Owen Reed, "Symphony for Brass and Percussion, op. 16," by Gunther
Schuller, and "Toccata for Percussion Instruments" by Carlos Chávez
(Master thesis, Kansas State University). (OCLC No. 56342809)
Tier 3 Berz, W. (2010). La Fiesta Mexicana, H. Owen Reed. In R. Miles (Ed.), Teaching
Music Through Performance in Band (Vol. 1, Second ed., pp. 659‐667).
Chicago, GIA Publications.
184
Reed, H. Owen La Fiesta Mexicana
La Fiesta Mexicana, H. Owen Reed (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 330‐333). Chicago, GIA
Publications.
Tier 4 Johnson, C. J. L. (2005). An annotated collection of twentieth century wind
band excerpts for trumpet (Doctoral Dissertation, Ohio State
University). http://rave.ohiolink.edu/etdc/view?acc_num=
osu1117571186
Knight, J. (1998). An interpretive analysis of La Fiesta Mexicana. The
Instrumentalist, 53(2), 32, 34, 36, 38, 40, 42, 104‐105.
Nichols, C. R. (2011). A clarinetist’s guide to the audition process and
literature for the premier United States service bands (Doctoral
dissertation, University of Kansas). Retrieved from
https://kuscholarworks.ku.edu/dspace/handle/1808/8028
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Reynolds, Verne Scenes
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 1 2 0 4
Tier 1 Jones, B. D. (2006). A comparative analysis of Scenes, Scenes Revisited, and
Last Scenes by Verne Reynolds (Doctoral dissertation, University of
Cincinnati). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 3218039)
Jones discusses the trilogy of wind works by Reynolds. Individual
analysis examines the topics of serialism, jazz, aleatory, variation, imitation
and motivic development. Each work is addressed by topic: pitch, style and a
descriptive analysis. The three works are compared in terms of
instrumentation, form, use of serialism, and style. Included is a complete list
of Reynolds’ compositions and transcriptions for winds.
Tier 3 Speck, G. A. (2000). Scenes, Verne Reynolds. In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 3, pp. 731‐734). Chicago, GIA
Publications.
185
Reynolds, Verne Scenes
Tier 4 Beard, C. E. (2003). Excerpts for flute from the wind band literature: An
annotated guide for practice, performance, and auditions preparation,
presented as a progressive supplementary teaching method (Doctoral
treatise, University of Texas, Austin).
(http://hdl.handle.net/2152/12546)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Rodrigo, Joaquin Adagio
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 2 0 2
Tier 4 Ladd, J. S. (2009). An annotated bibliography of contemporary works
programmable by wind band and orchestra (Doctoral dissertation,
Florida State University). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 3385327)
Olfert, W. D. (1992). The development of a wind repertoire: A history of the
American Wind Symphony Orchestra (Doctoral dissertation, Florida
State University). Retrieved from ProQuest Dissertations and Theses.
(UMI No. 9234241)
Schmitt, Florent Dionysiaques, Op. 62
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 1 1 0 4
Tier 1 Janda, D. C. (1993). Dionysiaques, op. 62: An original composition for band by
Florent Schmitt (Doctoral dissertation, University of Cincinnati).
Retrieved from ProQuest Dissertations and Theses. (9407802)
Janda discusses the life of Schmitt, along with influences on his
compositional style. The origins of Dionysiaques are examined and analysis is
organized by topic: form, pitch, harmony, rhythm and meter, dynamics,
timbre and orchestration and instrumentation. Included is a appraisal of the
work, instrumentation list, and an errata list for the score.
186
Schmitt, Florent Dionysiaques, Op. 62
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Colgrass’ Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation, background of the work, and a structural
analysis that includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestral aspects.
Tier 3 Janda, D. C. (2000). Dionysiaques, Op. 62, Florent Schmitt. In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 3, pp. 652‐658).
Chicago, GIA Publications.
Tier 4 Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Schmitt, Florent Lied et Scherzo, op. 54 (horn and wind ensemble)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 0 0 1 0 1
Tier 4 Winther, R. (2004). An annotated guide to wind chamber music (p. 335).
Miami, FL: Warner Bros. Publications.
187
Schoenberg, Arnold Theme and Variations, Op. 43a
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
8 1 3 2 1 15
Tier 1 Bruning, E. H., Jr. (1980). A survey and handbook of analysis for the
conducting and interpretation of seven selected works in the standard
repertoire for wind band (Doctoral dissertation, Ball State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8120740)
Bruning utilized a panel of experts to select seven seminal works for
wind band: Dahl’s Sinfonietta for Band; Giannini’s Symphony No. 3 for Band;
Grainger’s Lincolnshire Posy; Hindemith’s Symphony in B‐flat; Persichetti’s
Symphony No. 6, Op. 69; Reed’s La Fiesta Mexicana; and Schoenberg’s Theme
and Variations, Op. 43a. Each work is analyzed in detail. The author presents
a collection of performance and rehearsal challenges and solutions provided
from a surveyed panel of experts. The document includes interviews and/or
letters from Vincent Persichetti, H. Robert Reynolds and Percy Grainger.
Garcia, D. M. (1986). Tonality in Schoenberg’s Theme and Variations for Band,
opus 43a and Symphony for Band (Doctoral dissertation, Ohio State
University). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 8625168)
Garcia examines tonality in Op. 43a, discussing scalar abstraction and
tonal operations as a compositional technique. Traditional expectations of
harmonic and melodic motion may be addressed or frustrated based on
Schoenberg’s use. A chronological analysis is included in terms of formal
structure, harmonic grouping, motivic and pitch content. The document
includes an original compositions based on these techniques.
LaReau, M. A. (1991). Arnold Schoenberg’s Theme and Variations, Opus 43a.
CBDNA Journal, (9)4‐26.
188
Schoenberg, Arnold Theme and Variations, Op. 43a
Nail, J. I. (1978). The concept of developing variations as a means of producing
unity and variety in Schoenberg’s Theme and Variations, opus 43a
(Doctoral dissertation, University of Texas, Austin). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 7900527)
Nail discusses the origins of the work, and outlines a step‐by‐step
method for analysis of variations. The overall structure of the work is
discussed, followed by a detailed examination of the theme and each
variation. Analyses focus on motivic cells, their pitch content and their
relationship to the theme. Nail discusses the work as a whole in terms of its
compositional idea, form, harmonic processes, orchestration, dynamics and
effects.
Odegard, P. S. (1964). The variations sets of Arnold Schoenberg (Doctoral
dissertation, University of California, Berkeley). (UMI No. 6413068,
OCLC No. 2812325)
Odegard examines four different works involving theme and variations
concepts (including that of Schoenberg’s Theme and Variations) in the
context of the “method of developing variation” within the 12‐tone system.
The author also addresses related topics: the relationship of motive to
harmony, counterpoint and articulation; forming cadential articulations;
forming coherent sections based on variations; adapting tonal harmonic
procedures; defining “varied return;” derivation of themes and motives, and
how themes give form to phrase structure.
Prindl, F. J. (1956). A study of ten original compositions for band published
since 1946 (Doctoral dissertation, Florida State University) Retrieved
from ProQuest Dissertations and Theses. (UMI No. 0017029)
This analytical research is one of the earliest found on wind band core
repertoire. Prindl looks at ten compositions: Creston’s Celebration Overture
and Zanoni, Gould’s Ballad for Band, Hanson’s Chorale and Alleluia,
Lockwood’s The Closing Doxology, Milhaud’s Suite Francaise, Persichetti’s
Pageant, Schoenberg’s Theme and Variations, Schuman’s George Washington
Bridge, and Thomson’s A Solemn Music. Analyses include a biographical
sketch of the composer, general comments on style, overview of the formal
structure, harmonic and rhythmic analysis, instrumentation, and an
examination of performance and rehearsal issues.
189
Schoenberg, Arnold Theme and Variations, Op. 43a
Roznoy, R. (1976). Schoenberg’s Theme and Variations, Op. 43a. The
Instrumentalist, 30(7), 40‐42.
Roznoy provides a brief background on the work, and addresses some
performance and instrument issues. A detailed analysis of the work focuses
on the structure, melody and harmony of the theme, and the compositional
techniques of each variation. Conductor concerns are included as well as a
comparison of harmonies between the theme and variations.
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Colgrass’ Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation, background of the work, and a structural
analysis that includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestral aspects.
Tier 2 Maloney, K. H. (1980). An analytical appreciation of the theme from
Schoenberg’s Theme and Variations, Opus 43a. Winds Quarterly, 1,
25‐34.
Tier 3 Schmidt‐Brunner, W. (1985). Arnold Schoenberg's 'pedagogical music': Suite
for string orchestra (1934) and Theme and variations for band, op. 43a
(1943). In W. Suppan (Ed.), Wind instrument sound and wind
instruments in the music of Richard Wagner (pp. 227‐237). Tutzing,
Germany: Hans Schneider.
Stone, T. (2010). Theme and Variations, Op. 43a, Arnold Schoenberg. In R.
Miles (Ed.), Teaching Music Through Performance in Band (Vol. 1
,Second ed., pp. 968‐973). Chicago, GIA Publications.
Theme and Variations, Op. 43a, Arnold Schoenberg (1997). In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, pp. 482‐487).
Chicago, GIA Publications.
190
Schoenberg, Arnold Theme and Variations, Op. 43a
Tier 4 Beard, C. E. (2003). Excerpts for flute from the wind band literature: An
annotated guide for practice, performance, and auditions preparation,
presented as a progressive supplementary teaching method (Doctoral
treatise, University of Texas, Austin). http://hdl.handle.net/2152/
12546
Plate, S. W. (1986). A study and comparison of Arnold Schoenberg’s Theme
and Variations, opus 43a and b with particular attention to
instrumentation, orchestration, and variation technique (Doctoral
dissertation, University of Cincinnati). Retrieved from ProQuest
Dissertations and Theses. (UMI NO. 8627586)
Tier F Polth, M. (2002). Theme and Variations for band, op. 43a version for
orchestra, op. 43b. In G. W. Gruber (Ed.), Arnod Schoenberg:
Interpretations of his works (pp. 109‐116). Laaber, Germany: Laaber‐
Verlag.
Schuller, Gunther On Winged Flight: A Divertimento for Band
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 0 0 1
Tier 1 Schuller, G. (1990). On Winged Flight. The Instrumentalist, 45(5), 32, 34, 73‐
76.
Schuller provides an interpretive analysis of his own work. Analysis is
chronological and includes some of his performance preferences.
Commentary is focused on performance issues, expectations and challenges,
and includes discussion for the inspiration of each movement. Each section is
described in terms of its instrumentation, style and dynamics.
191
Schuller, Gunther Symphony for Brass and Percussion
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
0 3 1 2 0 6
Tier 2 Foster, R. W. (1986). Compositional techniques in the Symphony for Brass and
Percussion of Gunther Schuller and their relation to two later works of
the composer (Master thesis, Georgia State University). (OCLC No.
13783821)
Montgomery, D. W. (2004). An examination of major works for wind band,
brass ensemble, and percussion ensemble: "La fiesta Mexicana" by H.
Owen Reed, "Symphony for Brass and Percussion, op. 16," by Gunther
Schuller, and "Toccata for Percussion Instruments" by Carlos Chávez
(Master thesis, Kansas State University). (OCLC No. 56342809)
Spurling, P. (1979). A conducting analysis of Symphony for Brass and
Percussion by Gunther Schuller (Master thesis, Stanford University).
(OCLC No. 777565505)
Tier 3 Newsom, J., & Schuller, G. (2000). Gunther Schuller on Edward Steuermann
and Schuller's Symphony for Brass. In J. Newsom & A. Mann (Ed.), The
Rosaleen Moldenhauer memorial: Music history from primary
sources—A guide to the Moldenhauer Archives (pp. 400‐413).
Washington D.C., Library of Congress.
Johnson, C. J. L. (2005). An annotated collection of twentieth century wind
band excerpts for trumpet (Doctoral Dissertation, Ohio State
University). http://rave.ohiolink.edu/etdc/view?acc_num=
osu1117571186
Tier 4 Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
192
Schuller, Gunther Symphony No. 3, In Praise of Winds
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 0 1 1 0 4
Tier 2 Emge, J. D. (2000). Third‐stream music for band: An examination of jazz
influences in five selected compositions for winds and percussion
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9999189)
Emge examines the use of jazz influences, or “third stream,” in five
selected compositions: Schuller’s In Praise of Winds, Broege’s No Sun, No
Shadow, Wilson’s Piece of Mind, Harbison’s Three City Blocks, and Grantham’s
J’ai ete au bal. Each piece was analyzed utilizing indicators of jazz:
instrumentation, use of percussion to imitate traditional jazz percussion,
improvisation, swing notation, harmony, and specialized notation. Included
are interviews with each composer.
Hopkins, S. (1988). Analysis: Gunther Schuller’s In Praise of Winds. Journal of
Band Research, 24(1), 28‐43.
Hopkins presents a brief background of Schuller, the genesis of the
work, its large instrumentation and formal design. Analysis addresses the
initial motives of the work, their composition within an atonal framework,
and their use through diatonic fragmented repetition. Hopkins provides
detailed examination of the row and its derivations, along with discussion of
the development of momentum and tension throughout the chronological
analysis.
Tier 3 Kohlenberg, K. (2000). In Praise of Winds, Symphony for Large Wind
Orchestra, Gunther Schuller. In R. Miles (Ed.), Teaching Music Through
Performance in Band (Vol. 3, pp. 698‐704). Chicago, GIA Publications.
Tier 4 Schuller, G. (1986). Musings: The musical world of Gunther Schuller (pp. 196‐
197). New York: Oxford University Press.
193
Schuman, William George Washington Bridge
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 3 4 0 0 11
Tier 1 Brown, M. R. (1989). The band music of William Schuman: A study of form,
content and style (Doctoral dissertation, University of Georgia).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9003372,
OCLC No. 41000081)
Brown reviews relevant literature regarding Schuman and his
instrumental music. Schuman’s biography is discussed, as well as a summary
of his musical style. Brown examines three works: George Washington Bridge,
Chester, and American Hymn: Variations on an Original Melody. A
chronological descriptive analysis focuses on form and style considerations.
Hymel, M. J. (1988). A comparative analysis of three works for band by
William Schuman (Doctoral dissertation, Lamar University ‐
Beaumont). Retrieved from ProQuest Dissertations and Theses. (UMI
NO. 1333673, OCLC No. 18437201)
Hymel provides a biographical sketch of the life of Schuman, and
examines George Washington Bridge, Chester, and When Jesus Wept.
Analyses include sections on the piece’s background, instrumentation, form,
harmony, melody and rhythm. Discussion is organized by the structure of the
work and how each section relates to the work as a whole. Hymel then
compares the works in terms of each aspect.
Prindl, F. J. (1956). A study of ten original compositions for band published
since 1946 (Doctoral dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 0017029)
This analytical research is one of the earliest found on wind band core
repertoire. Prindl looks at ten compositions: Creston’s Celebration Overture
and Zanoni, Gould’s Ballad for Band, Hanson’s Chorale and Alleluia,
Lockwood’s The Closing Doxology, Milhaud’s Suite Francaise, Persichetti’s
Pageant, Schoenberg’s Theme and Variations, Schuman’s George Washington
Bridge, and Thomson’s A Solemn Music. Analyses include a biographical
sketch of the composer, general comments on style, overview of the formal
structure, harmonic and rhythmic analysis, instrumentation, and an
examination of performance and rehearsal issues.
194
Schuman, William George Washington Bridge
Rhodes, S. L. (1987). A comparative analysis of the band compositions of
William Schuman (Doctoral dissertation, University of Northern
Colorado). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 8721960)
Rhodes provides a brief history of the wind band and its
instrumentation, along with the biography of Schuman. Works examined
include: Newsreel, George Washington Bridge, Chester, Dedication Fanfare,
and American Hymn. Chronological analysis of each work not only looks at
motives, harmony, melody, rhythm; but it also provides detailed examination
as to the purpose of compositional choices. Schuman’s orchestral style is
identified using each piece as a chronological touchstone. Chester is also
compared to the orchestral version of New England Tryptich.
Tier 2 Fennell, F. (1993). William Schuman: George Washington Bridge. BDGuide
7(4).
Garofalo, R. J. (1981). A new plan for concert band. Music Educators Journal,
67(8), 32‐39.
Lengyel, P. M. (1973). An analytical study of particular aspects of William
Schuman's George Washington Bridge (Master thesis, Indiana
University). (OCLC No. 30913053)
Tier 3 Fennell, F. (2008). A conductor's interpretive analysis of masterworks for band
(pp. 40‐47). Galesville, MD: Meredith Music Publications.
Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith
Music Publications.
George Washington Bridge: An Impression for Band, William Schuman (1997).
In R. Miles (Ed.), Teaching Music Through Performance in Band (Vol. 1,
pp. 326‐329). Chicago, GIA Publications.
Mailman, M. (2010). George Washington Bridge: An Impression for Band,
William Schuman. In R. Miles (Ed.), Teaching Music Through
Performance in Band (Vol. 1, Second ed., pp. 651‐658). Chicago, GIA
Publications.
195
Schuman, William New England Triptych
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
6 3 4 4 0 16
Tier 1 Brown, M. R. (1989). The band music of William Schuman: A study of form,
content and style (Doctoral dissertation, University of Georgia).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9003372,
OCLC No. 41000081)
Brown reviews relevant literature regarding Schuman and his
instrumental music. Schuman’s biography is discussed, as well as a summary
of his musical style. Brown examines three works: George Washington Bridge,
Chester, and American Hymn: Variations on an Original Melody. A
chronological descriptive analysis focuses on form and style considerations.
Brown, M. R. (1993). Conducting Schuman’s Chester Overture. The
Instrumentalist, 48(4), 29‐30, 32, 34, 36.
Brown provides a brief background of Chester as the band
orchestration of a movement from the orchestral score: New England
Triptych. A chronological analysis focuses on form, identification of phrase
fragments, instrumentation, tonality and use of accompaniment. Brown
provides commentary on performance and conducting issues, but does not
compare the band and orchestral versions.
Hymel, M. J. (1988). A comparative analysis of three works for band by
William Schuman (Doctoral dissertation, Lamar University ‐
Beaumont). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 1333673, OCLC No. 18437201)
Hymel provides a biographical sketch of the life of Schuman, and
examines George Washington Bridge, Chester, and When Jesus Wept. Hymel
analyzes and compares each work based on the piece’s background,
instrumentation, form, harmony, melody and rhythm.
196
Schuman, William New England Triptych
Johnson, C. E. (1969). Common musical idioms in selected contemporary wind
band music (Doctoral dissertation). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7011129)
Johnson provides a detailed analysis of eight different works from a
study presented at the fourteenth National Conference of the College Band
Directors National Association of the most frequently programmed works
between 1961‐1966. The study looks in‐depth at the formal structure, key
harmonic structure, cadence points, and phrase structure of each work. He
provides a summary of the work outlining key features across harmony,
phrase, tonal structure, formal structure and thematic materials.
Marks, M. A. (2005). William Schuman’s wind band setting of Be Glad Then,
America (1975): Its history, analysis, and orchestration (Doctoral
dissertation, University of Oklahoma). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 3176316)
Marks provides an examination of the first movement, Be Glad Then,
America, of New England Tryptich. This history of this arrangement by
Schuman is discussed, along with the biography of Schuman and William
Billings. Analysis includes the work’s overall form and a chronological
investigation referencing the original Billings melody and the text. Included is
a score and parts errata list, suggests for scoring additions and substitutions
and a chart outlining instrument ranges.
Rhodes, S. L. (1987). A comparative analysis of the band compositions of
William Schuman (Doctoral dissertation, University of Northern
Colorado). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 8721960)
Rhodes provides a brief history of the wind band and its
instrumentation, along with the biography of Schuman. Works examined
include: Newsreel, George Washington Bridge, Chester, Dedication Fanfare,
and American Hymn. Chronological analysis of each work not only looks at
motives, harmony, melody, rhythm; but also provides detailed examination as
to the purpose of compositional choices. Schuman’s orchestral style is
identified using each piece as a chronological touchstone. Chester is also
compared to the orchestral version of New England Tryptich.
Tier 2 Battisti, F. L. (1990). William Schuman: When Jesus Wept. BDGuide, 4(3).
197
Schuman, William New England Triptych
Melhorn, C. A. (2007). In‐depth analysis and program notes on a recital of
wind band music (Master thesis, Minnesota State University,
Mankato). (OCLC No. 168080761)
Rhodes, S. (1989). William Schuman: Chester Overture for Band. BDGuide,
3(4).
Tier 3 Battisti, F. L. (2009). When Jesus Wept: William Schuman. In K. L. Neidig (ed.),
Performance‐Study Guides of Essential Works for Band. Galesville, MD:
Meredith Music Publications.
Creasap, S. & Schueller, R. C. (1998). Chester Overture for Band, William
Schuman. In R. Miles (Ed.), Teaching Music Through Performance in
Band (Vol. 2, pp. 431‐436). Chicago, GIA Publications.
Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith
Music Publications.
Rhodes, S. J. (2009). Chester Overture for Band: William Schuman. In K. L.
Neidig (ed.), Performance‐Study Guides of Essential Works for Band.
Galesville, MD: Meredith Music Publications.
Tier 4 Magie, G. A. (1996). Conducting William Schuman’s New England Triptych
(Doctoral dissertation, University of California, Los Angeles). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9707406)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Perkins, J. R. (1983). Characteristics of nationalistic style in three folk song
settings for band (Master thesis, Western State College of Colorado).
(OCLC No. 9825981)
Ward, Z. W. (1996). Conductor interviews on interpretation and rehearsal
techniques for three twentieth century band works: Chester‐Schuman;
Kaddish‐McBeth; and Prelude, Siciliano, & Rondo‐Arnold/Paynter
(Master thesis, New Mexico State University). (OCLC No. 35962925)
198
Schwantner, Joseph …and the mountains rising nowhere
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
5 2 1 5 0 13
Tier 1 Folio, C. J. (1985). An analysis and comparison of four compositions by Joseph
Schwantner: and the mountains rising nowhere; Wild Angels of the
Open Hills; Aftertones of Infinity; and Sparrows (Doctoral dissertation,
University of Rochester). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 8508803)
Folio examines the compositional methods present in these four
compositions, providing a very detailed analysis of each work. The analysis
explains the methods of constructing each section from a compositional and
theoretical standpoint. Folio discusses the similar melodic and harmonic
vocabulary shared among the works, referencing many style periods, and
how this vocabulary combines contemporary and traditional practices.
O’Neal, T. J. (1993). Timbre as a compositional device in selected band
repertoire since 1950. (Doctoral dissertation, University of Arizona).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 9322666)
O’Neal examines three works in order to discuss use of timbre: Husa’s
Music for Prague 1968, Schwantner’s …and the mountains rising nowhere,
and Hindemith’s Symphony in B‐flat. Analyses include discussion of major
structural points, themes, dynamics and textural treatment. Timbre and
instrumentation choices are examined more in‐depth for each work,
examining the innovations each composer made in this area.
199
Schwantner, Joseph …and the mountains rising nowhere
Pilato, N. (2007). A conductors guide to the wind music of Joseph Schwantner
with a transcription of the composers New Morning for the World
(Doctoral dissertation, Florida State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3282656)
Pilato discusses several of Schwantner’s works in terms of the
background and description of the piece, elements and structure and
rehearsal considerations. Examined compositions include: …and the
mountains rising nowhere, From a Dark Millennium, In Evening’s Stillness…,
Recoil, and New Morning for The World. Analysis is limited to descriptions of
formal structure and motives employed in the pieces, with some commentary
on their use in other works. Pilato also examines common notational
elements, orchestration and compositional techniques, along with a brief
biography of the composer.
Renshaw, J. H. (1991). Schwantner’s first work for wind ensemble. The
Instrumentalist, 45(6), 30, 32, 35‐36, 79.
Renshaw provides a basic background of Schwantner and the work’s
inspiration, commission and premiere. Instrumentation, ensemble spacing
and instructional symbols are discussed. Each motive is examined prior to a
discussion of the larger formal structure. Renshaw examines Schwantner’s
compositional characteristics in terms of rhythm, timbre and texture.
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Colgrass’ Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation and background of the work. A structural
analysis includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestral aspects.
Tier 2 Folio, C. (1989). Unity and pluralism in selected works of Joseph Schwantner.
Ex Tempore, 5(1), 77.
200
Schwantner, Joseph …and the mountains rising nowhere
Locke, J. R. (1991). A performance analysis of Joseph Schwantner’s and the
mountains rising nowhere. Winds Quarterly, 1, 40‐45.
Tier 3 Renshaw, J. (1998). and the mountains rising nowhere, Joseph Schwantner. In
R. Miles (Ed.), Teaching Music Through Performance in Band (Vol. 2,
pp. 529‐540). Chicago, GIA Publications.
Tier 4 Briggs, J. L. (1984). The recent music of Joseph Schwantner: Unique and
essential elements (Doctoral dissertation, University of Illinois).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 8502083)
Montgomery, R. M. (2005). The use of the voice in five selected works for
band (Doctoral dissertation, University of Arizona). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3205465)
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Pare, C. T. (1993). An examination of innovative percussion writing in the band
music of four composers: Vincent Persichetti‐‐Symphony for band;
Karel Husa‐‐Music for Prague 1968; Joseph Schwantner‐‐and the
mountains rising nowhere; Michael Colgrass‐‐Winds of Nagual
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9329971)
Renshaw, J. H. (1991). Schwantner on composition. The Instrumentalist,
45(10), 14, 16‐17.
201
Schwantner, Joseph From a Dark Millennium
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 0 1 1 0 5
Tier 1 Pilato, N. (2007). A conductors guide to the wind music of Joseph Schwantner
with a transcription of the composers New Morning for the World
(Doctoral dissertation, Florida State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3282656)
Pilato discusses several of Schwantner’s works in terms of the
background and description of the piece, elements and structure, and
rehearsal considerations. Examined compositions include: …and the
mountains rising nowhere, From a Dark Millennium, In Evening’s Stillness…,
Recoil, and New Morning for The World. Analysis is limited to descriptions of
formal structure and motives employed in the pieces, with some commentary
on their use in other works. Pilato also examines common notational
elements, orchestration and compositional techniques, along with a brief
biography of the composer.
Popejoy, J. R. (2000). From a Dark Millennium comes the Music of Amber: A
comparative study of two works by Joseph Schwantner (Doctoral
dissertation, University of North Texas). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 9990802)
Popejoy examines two pieces created from similar materials, but for
different instrumentations: large wind ensemble and a small chamber
ensemble. A chronological analysis follows, focusing on the differences
between the two versions. A separate discussion addresses elements of form,
melody, harmony, rhythm, dynamics, style, articulation, expression, scoring
and texture.
Renshaw, J. H. (1989). Joseph Schwantner’s From a Dark Millennium. The
Instrumentalist, 44(2), 22‐29, 117‐119.
Renshaw provides a basic biography of Schwantner, then discusses
the challenges of teaching atonal music in context of melody, harmony and
form. Analysis is chronological through the thirteen sections, where pitch,
instrumentation, tempo and rhythm are discussed in terms of performance
challenges. Commentary on ensemble setup and amplification. A list of errata
is included.
202
Schwantner, Joseph From a Dark Millennium
Tier 3 Renshaw, J. H. (2000). From a Dark Millennium, Joseph Schwantner. In R.
Miles (Ed.), Teaching Music Through Performance in Band (Vol. 3, pp.
682‐696). Chicago, GIA Publications.
Tier 4 Ladd, J. S. (2009). An annotated bibliography of contemporary works
programmable by wind band and orchestra (Doctoral dissertation,
Florida State University). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 3385327)
Strauss, Richard Festmusik der Stadt Wien, AV 133 (brass and timpani)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 1 0 1 0 3
Tier 1 Kramer, K. (1985). The symphonic brass music of Richard Strauss: A historical
and analytical study (Doctoral thesis, Manhattan School of Music).
(OCLC No. 68905590)
Kramer examines four brass works of Strauss: Feierlicher Einzug,
Vienna Philharmonic Fanfare, Fanfare (for the Opening of the Music Week in
Vienna in September 1924), and Festmusik der Stadt Wien. Each analysis
includes comments on the background of the work, and an analytical
commentary of each structural section of the work. The document includes
full copies of the studies scores.
Tier 2 Wacker, J. M. (2000). Richard Strauss: Selected works for winds (Master
thesis, Indiana University of Pennsylvania). (OCLC No. 48270725)
Tier 4 Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
203
Strauss, Richard Serenade, Op. 7
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 3 0 2 0 6
Tier 1 Bailey, S. C. (1986). Harmony and tonality in the four works for mixed wind
instruments of Richard Strauss (Doctoral dissertation, University of
Arizona). Retrieved from ProQuest Dissertations and Theses. (UMI No.
8704755)
Bailey employs very detailed data on the duration of sonorities and
theoretic constructs to draw comparisons between two early works
(Serenade in E‐Flat and Suite in B‐flat) and those composed later in Strauss’
life (Sonatine in F and Symphonie in E‐flat). Bailey provides a detailed
analytical comparison of sonority type, root movement, representative
harmonic progressions, cadence types, harmonic rhythm, treatment of
melodic and harmonic dissonance, keys employed, key relationships and
modulation types. He concludes that Strauss looks back to the early
compositions for the harmonic language of the later works rather than
continuing the path of harmonic experimentation as seen in compositions
during the intervening years. Document includes structural analyses and
musical examples.
Tier 2 Erickson, R. S. (1981). The serenade: Its origin and development as a wind
band composition, with emphasis on the Mozart Serenade no. 11 (K.
375) and the Strauss Serenade, op. 7 (Master thesis, Bowling Green
State University). (OCLC No. 8103780).
Lee, K. G. (1979). An analytical examination of selected chamber works by
Stravinsky, Beethoven, and Strauss (Master thesis, California State
University Fullerton). (OCLC No. 6383984)
Melhorn, C. A. (2007). In‐depth analysis and program notes on a recital of
wind band music (Master thesis, Minnesota State University,
Mankato). (OCLC No. 168080761)
Tier 4 Caulder, S. B. (2005). Historical and performance perspective for oboe from
selected chamber repertoire (Doctoral treatise, Florida State
University). (OCLC No. 135077905)
Winther, R. (2004). An annotated guide to wind chamber music (pp. 280‐281).
Miami, FL: Warner Bros. Publications.
204
Strauss, Richard Sonatina No. 1 in F (Aus der Werkstatt eines invaliden)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 1 0 2
Tier 1 Bailey, S. C. (1986). Harmony and tonality in the four works for mixed wind
instruments of Richard Strauss (Doctoral dissertation, University of
Arizona). Retrieved from ProQuest Dissertations and Theses. (UMI No.
8704755)
Bailey employs very detailed data on the duration of sonorities and
theoretic constructs to draw comparisons between two early works
(Serenade in E‐Flat and Suite in B‐flat) and those composed later in Strauss’
life (Sonatine in F and Symphonie in E‐flat). Bailey provides a detailed
analytical comparison of sonority type, root movement, representative
harmonic progressions, cadence types, harmonic rhythm, treatment of
melodic and harmonic dissonance, keys employed, key relationships and
modulation types. He concludes that Strauss looks back to the early
compositions for the harmonic language of the later works rather than
continuing the path of harmonic experimentation as seen in compositions
during the intervening years. Document includes structural analyses and
musical examples.
Tier 4 Winther, R. (2004). An annotated guide to wind chamber music (pp. 280‐281).
Miami, FL: Warner Bros. Publications.
205
Strauss, Richard Suite in B‐flat, Op. 4
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 1 0 2
Tier 1 Bailey, S. C. (1986). Harmony and tonality in the four works for mixed wind
instruments of Richard Strauss (Doctoral dissertation, University of
Arizona). Retrieved from ProQuest Dissertations and Theses. (UMI No.
8704755)
Bailey employs very detailed data on the duration of sonorities and
theoretic constructs to draw comparisons between two early works
(Serenade in E‐Flat and Suite in B‐flat) and those composed later in Strauss’
life (Sonatine in F and Symphonie in E‐flat). Bailey provides a detailed
analytical comparison of sonority type, root movement, representative
harmonic progressions, cadence types, harmonic rhythm, treatment of
melodic and harmonic dissonance, keys employed, key relationships and
modulation types. He concludes that Strauss looks back to the early
compositions for the harmonic language of the later works rather than
continuing the path of harmonic experimentation as seen in compositions
during the intervening years. Document includes structural analyses and
musical examples.
Tier 4 Winther, R. (2004). An annotated guide to wind chamber music (p. 308).
Miami, FL: Warner Bros. Publications.
206
Strauss, Richard Symphonie for Winds "Frolich Werkstatt" AV 143
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 1 0 2
Tier 1 Bailey, S. C. (1986). Harmony and tonality in the four works for mixed wind
instruments of Richard Strauss (Doctoral dissertation, University of
Arizona). Retrieved from ProQuest Dissertations and Theses. (UMI No.
8704755)
Bailey employs very detailed data on the duration of sonorities and
theoretic constructs to draw comparisons between two early works
(Serenade in E‐Flat and Suite in B‐flat) and those composed later in Strauss’
life (Sonatine in F and Symphonie in E‐flat). Bailey provides a detailed
analytical comparison of sonority type, root movement, representative
harmonic progressions, cadence types, harmonic rhythm, treatment of
melodic and harmonic dissonance, keys employed, key relationships and
modulation types. He concludes that Strauss looks back to the early
compositions for the harmonic language of the later works rather than
continuing the path of harmonic experimentation as seen in compositions
during the intervening years. Document includes structural analyses and
musical examples.
Tier 4 Winther, R. (2004). An annotated guide to wind chamber music (p. 308).
Miami, FL: Warner Bros. Publications.
Stravinsky, Igor Concerto for Piano and Wind Instruments
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
8 5 1 2 1 17
Tier 1 Allen, B. O. (1980). A comparison and critique of the recorded performances of
Stravinsky’s Concerto for Piano and Wind Instruments (Doctoral
dissertation, Stanford University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 8024768)
Allen examines performances of the Concerto and compares these
recordings in terms of tempo, articulation, balance, pedal, accents, rhythm,
rubato, dynamics, and ensemble. A brief descriptive chronological analysis of
the formal structure of each movement includes some commentary on
rhythm, instrumentation and tonality.
207
Stravinsky, Igor Concerto for Piano and Wind Instruments
Garst, M. M. (1972). The early twentieth‐century piano concerto as
formulated by Stravinsky and Schoenberg (Doctoral dissertation,
Michigan State). Retrieved from ProQuest Dissertations and Theses.
(UMI No. 7305376)
Garst examines differences between the compositional philosophies
of Stravinsky and Schoenberg and provides analyses of five compositions:
Stravinsky’s Concerto for Piano and Wind Orchestra (1924), Capriccio for
Piano and Orchestra (1929), and Concerto for Two Solo Pianos (1935); and
Schoenberg’s Concerto for Piano and Orchestra. Opus 42 (1942). Analyses
include biography, form, melody, rhythm, tonality, harmony (twelve tone
technique), style, piano technique, and relationships between piano and
orchestra.
Hanson, J. R. (1969). Macro form in selected twentieth‐century piano
concertos (Doctoral dissertation, University of Rochester). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 7010575)
Hanson provides formal analysis of 26 piano concertos in the
twentieth century in order to determine patterns in structure and harmonic
content. Works include Barber, Bartok (First, Second, and Third), Britten,
Chavez, Copland, von Einem, Gershwin, Ginastera, Haieff, Hanson, Helm
(Second), Kabalevsky (Third), Khachaturian, LaMontaine, G. F. Malipiero
(Third), Martin (Third), McPhee (for Piano and Wind Octet), Menotti, Pijper,
Poulenc, Prokofiev (First, Second, Third, Fifth), Ravel (G major), Rawsthorne
(Second), Schoenberg, Shostakovich (First and Second), Stravinsky (Capriccio
and Concerto for Piano and Wind Instruments). Each work’s formal structure
is charted, and the research includes descriptions of each section. A
descriptive commentary of each movement is included.
Linsell, G. E. (2007). Igor Stravinsky: Wind ensemble works in context
(Doctoral dissertation, Arizona State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3270599)
Linsell examines five works for wind ensemble: Symphonies pour
Instruments a Vent, Mavra, Octet, Concerto pour Piano Suivi D’orchestre
D’harmonie, and Oedipus Rex. Instrumentation and formal structure are
discussed in each work. Further examination is done of Stravinsky’s use of
thematic and motivic material. The cadenza in the Piano Concerto is discussed
in further detail.
208
Stravinsky, Igor Concerto for Piano and Wind Instruments
Lubaroff, S. C. (2001). An examination of the neo‐classical wind works of Igor
Stravinsky: The Octet for Winds and Concerto for Piano and Winds
(Doctoral dissertation, Michigan State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3009143)
Lubaroff asserts the importance of the Octet and Concerto as a pivotal
transition in the compositional development of Stravinsky. He discusses the
history of Stravinsky’s compositional influences in terms of orchestrational
choices, form and technique. The history, genesis and instrumentation of the
Octet is discussed, followed by a chronological analysis. Analysis focuses on
form, tonality and themes. The Concerto is examined in terms of the Octet,
both in its history and inspiration, as well as its analysis.
Peng, I. (2000). Neoclassicism and the piano: Igor Stravinsky’s Concerto for
Piano and Winds and Paul Hindemith’s The Four Temperaments
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 9989329)
Peng provides a brief discussion of neoclassicism and then examines
its influence prior to and on each composer. Analysis of the compositions
from a performer’s perspective include examination of formal structure,
rhythmic features, melodies, tonal relationships and the composer’s use of
the piano. A selected discography and list of piano works by each composer is
included.
Ramirez, A. S. (2004). Igor Stravinsky’s Concerto for Piano and Wind
Instruments (1924): An analysis and discussion of conducting
performance practices (Doctoral dissertation, University of California,
Los Angeles). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 3142490)
Ramirez provides a brief biography of Stravinsky, discusses the genesis
of the composition, and reviews performances by the composer.
Chronological analysis examines form, tonality, rhythm and compositional
devices, with references to other works and styles. Ramirez discusses
conducting challenges and rehearsal issues, focusing on manual technique.
209
Stravinsky, Igor Concerto for Piano and Wind Instruments
Thal, M. (1978). The piano music of Igor Stravinsky (Doctoral dissertation,
University of Washington). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 7820780)
Thal catalogs and describes the entire output of Stravinsky’s piano
works. Descriptions are organized by instrumentation: original solos,
transcriptions, concertos, and two‐pianos. Compositions are also examined
within the context of Stravinsky’s style periods. Analysis is brief, but contains
some rhythmic, harmonic, motivic and orchestration points from the soloist’s
perspective.
Tier 2 Benjamin, W. E. (1977). Tonality without fifths: Remarks on the first
movement of Stravinsky’s Concerto for Piano and Wind Instruments,
part 1. In Theory Only, 2, 53‐70.
Benjamin, W. E. (1977). Tonality without fifths: Remarks on the first
movement of Stravinsky’s Concerto for Piano and Wind Instruments,
part 2. In Theory Only, 3, 9‐31.
Marcus, K. T. (1986). Altered tonal phrase rhythm in the first movement of
Stravinsky's Concerto for Piano and Wind Instruments (Master thesis,
University of Washington). (OCLC. No. 15340061)
Morgan, R. P. (1978) Dissonant prolongations, perfect fifths, and major thirds
in Stravinsky’s Piano Concerto. In Theory Only, 4(4), 3‐7.
Traut, D. G. (2000). Revisiting Stravinsky’s Concerto. Theory and Practice, 25,
65‐86.
Tier 3 Mosch, U. (1996). Igor Stravinsky: Piano concerto, piano sonata, and violin
concerto. In U. Mosch, G. Boehm, & K. Schmidt (Eds.), Canto d'amore:
Classicism in modern art and music, 1914‐1935 (pp. 184‐189). Basel,
Switzerland: Paul Sacher Stiftung.
Tier 4 Joseph, C. M. (1974). A study of Igor Stravinsky’s Piano Compositions
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 7428471)
Nelson, D. (1997). Analysis of the first movement cadenza of Stravinsky’s
Concerto for Piano and Wind Instruments. Journal of Band Research,
32(2), 76‐90.
210
Stravinsky, Igor Concerto for Piano and Wind Instruments
Tier F I, S. (2006). Musical style of Neoclassicism in Stravinsky's Concerto for Piano
and Wind Instruments (1924). Music and Korea, 31, 147‐173.
Stravinsky, Igor Ebony Concerto
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
2 4 0 5 3 14
Tier 1 Harris, E. C. (1985). Original twentieth century works for solo clarinet and
wind ensemble by American composers: An analytical and stylistic
study (literature, conducting) (Doctoral dissertation, University of
Northern Colorado). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 8519435, OCLC No. 15064150)
Harris provides biographies, backgrounds, and brief analyses of
Stravinsky’s Ebony Concerto, Etler’s Concerto for Clarinet with Chamber
Ensemble, and Gould’s Derivations for Clarinet and Jazz Band. Each
movement is described based on its formal structure. The author examines
texture, melodic, harmonic and rhythmic development, but not in terms of an
in‐depth harmonic analysis.
Prime, D. G. (1984). The clarinet in selected works of Bela Bartok and Igor
Stravinsky (Doctoral dissertation, University of Wisconsin, Madison).
Retrieved from ProQuest Dissertations and Theses. (OCLC No.
8500696)
Prime examines three works featuring the clarinet: Bartok’s Contrasts
and Stravinsky’s Soldier’s Tale and Ebony Concerto. Background and genesis
of each work is discussed. Chronological analysis focuses on formal structure,
instrumentation and provides a descriptive commentary in some places. Each
work is also addressed in terms of performance issues, and a selected
discography is included.
Tier 2 Hollerbach, P. (n. d.). Rite of swing: Stravinsky and the Ebony concerto.
International Jazz Archives Journal, 2(3).
Hunter, R. C. (2004). Igor Stravinsky: His proclivity for winds as demonstrated
in Symphonies of wind instruments, Octet, and Ebony concerto (Master
thesis, Indiana University of Pennsylvania). (OCLC No. 56909644)
Parsonage, C. (n. d.). Approaching Ebony Concerto. Winds, 19(4), 10‐11.
211
Stravinsky, Igor Ebony Concerto
Richards, D. J. (1972). Jazz elements in the music of Stravinsky: A comparative
analysis of the Ebony Concerto and the Sonata for Two Pianos (Master
thesis, Florida State University). (OCLC No. 40638804)
Tier 4 Fiday, M. (1983). Double parody: Problems of resemblance in Stravinsky's
Ebony Concerto (Doctoral thesis, University of Pennsylvania). (OCLC
No. 187457939)
Hollerbach, P. (1987). The genesis of Stravinsky's Ebony Concerto (Master
thesis, Peabody Conservatory of Music). (OCLC No. 82693858)
Hollerbach, P. (1989). The genesis of Stravinsky's Ebony Concerto. Peabody
Essays In Music History, (2), 37.
Lindberg, K. A. (2000). Third stream music in twentieth century American wind
band literature (Doctoral dissertation, University of Florida). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9984453)
Smith, M. M. (2010). The swing era clarinetists and their contributions to
twentieth‐century clarinet repertoire (Doctoral dissertation, Ohio State
University). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 3438206)
Tier F Braginskaa, N. A. (2009). The Ebony Concerto of Stravinsky: The problem of
intercultural communication. Iskusstvo i Obrazovanie, 45‐50.
Hunkemöller, J. (1972). Igor Strawinskys Jazz‐Porträt. Archiv Für
Musikwissenschaft, 29(1), 45‐63.
Mariceva, I. V. (2004). The interaction of art music and jazz. In I. V. Bezginova,
V. P. Osnac, & B. Ochay (Eds.), Issues in music education:
Methodology, theory, and applications (pp. 9‐11). Russian Federation:
Institut Muzyki Čelâbinsk.
212
Stravinsky, Igor Mass for Chorus and Double Wind Quintet
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 15 0 2 9 30
Tier 1 Dehning, W. J. (1972). A study and performance of Mass and Cantata by Igor
Stravinsky (Doctoral dissertation, University of Southern California).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 7217464)
Dehning examines two works by Stravinsky and his relationship to
religious music. Discussion and analysis of the Mass and Cantata are
presented. The discussion includes a tonal and structural overview, and a
discourse on orchestration and its reception. Analysis is chronological and
focuses on form, cadences, harmony, and compositional techniques.
Performance issues are examined in terms of Stravinsky’s preferences, errors,
conditions, and rehearsal issues. Dehning also provides a self‐evaluation of
his rehearsal sequence and subsequent performance.
Moses, D. V. (1980). A conductor's analysis of the Mass (1948) by Stravinsky
(Doctoral Thesis, Indiana University). (OCLC No. 6775891)
Moses begins by looking at the compositional influences and output of
Stravinsky in the context of his choral works. He then examines the Mass in
detail, starting from structural analysis. He also provides suggestions as to the
effect and genesis of tonal, harmonic, rhythmic and orchestration decisions.
Trivers, J. B. (2004). Directed motion in Stravinsky’s Mass (Doctoral
dissertation, New York University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 3146712)
Trivers examines Stravinsky’s Mass in terms of non‐traditional analysis
techniques. The analysis is discussed in terms of the following topics:
motionless pitch fields, independent register lines, functional interval types
and chord types, structural building blocks, and pitch‐class density. The
aforementioned musical topics are discussed in terms of how each generates
directed motion in a non‐functional environment.
213
Stravinsky, Igor Mass for Chorus and Double Wind Quintet
Vantine, B. L. (1982). Four twentieth‐century masses: An analytical
comparison of style and compositional technique (Doctoral
dissertation, University of Illinois). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 8218578)
Vantine examines four different works: Martin’s Mass for Double
Choir A Cappella, Poulenc’s Mass in G Major, Stravinsky’s Mass, and
Hindemith’s Mass for Mixed Choir A Cappella. Analyses are organized by
movement, and focus on style and harmonic structure. Vantine compares the
four compositions in terms of chronology, structure, melody, harmony, use of
counterpoint, rhythm, meter, text setting, texture and color.
Tier 2 Agawu, V. (1978). Igor Stravinsky: Mass (1948): An analysis of some aspects of
structure as revealed by pitch organization (Master thesis, England:
University of London). (OCLC No. 729588881)
Agawu, V. K. (1989). Stravinsky's "Mass" and Stravinsky Analysis. Music
Theory Spectrum, 11(2), 139‐163.
Baldwin, M. C. (1965). Motivic unity in four works for chorus and orchestra by
Igor Stravinsky (Master thesis, University of Louisville). (OCLC No.
44590423)
Banks, T. (1980). The use of timbre in Igor Stravinsky's Mass. Choral Journal,
20(8), 29.
Brunnemer, N. A. (1993). Igor Stravinsky’s Mass: An unacceptable vehicle for
the Roman Catholic liturgy (Master thesis, California State University,
Long Beach). Retrieved from ProQuest Dissertations and Theses. (UMI
NO. 1354591)
Frock, S. J. (1985) The C Major/ D Major polarities in the Agnus dei of
Stravinsky's Mass (1948) (Master thesis, University of Maryland).
(OCLC No. 15218904)
Griffith, B. (1981). Mass settings by three twentieth‐century composers:
Poulenc, Stravinsky, and Bernstein (Master thesis, Baylor University).
(OCLC No. 8226038)
Harlow, B. J. (1971). A stylistic analysis of the choral treatment of Igor
Stravinsky (Master thesis, California State College, Fullerton). (OCLC
No. 6765289)
214
Stravinsky, Igor Mass for Chorus and Double Wind Quintet
Hennessey, L. P. (1974). A structural and harmonic analysis of Igor
Stravinsky's Capriccio for piano and orchestra and Mass (Master
thesis, Indiana State University). (OCLC No. 15152653)
Hotaling, E. R. (1956). An analysis of four choral works by Igor Stravinsky
(Bachelor thesis, Rollins College). (OCLC No. 52233512)
Keyser, A. (2003). A question of religion: Igor Stravinsky's early sacred works
(Master thesis, Florida State University). (OCLC No. 180083497)
Lundergan, E. (2005). Modal symmetry and textural symbolism in the Credo
of the Stravinsky Mass. Choral Journal, 45(8), 8‐15.
McWilliams, L. (2002). Vaughan Williams, Stravinsky, Britten and the Latin
Mass (Master thesis, Ireland, University of Ulster).
Tortolano, W. (1962). "Four contemporary settings of the mass": Analysis and
evaluation of Masses by Ernst Krenek, Francis Poulenc, Igor Stravinsky,
and Zoltan Kodaly. (Master thesis, Montréal: Université de Montréal).
(OCLC No. 53781196)
VanZytveld, D. W. (1998). Igor Stravinsky's Mass: Toward an appreciation of
the composer's aesthetic (Master thesis, University of California, Los
Angeles). (OCLC No. 41148575)
Tier 4 Kilgore, J. C. (2008). Four twentieth‐century mass ordinary settings surveyed
using the dictates of the Motu Proprio of 1903 as a stylistic guide
(Doctoral dissertation, University of Southern Mississippi). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 3329742)
Winther, R. (2004). An annotated guide to wind chamber music (p. 308).
Miami, FL: Warner Bros. Publications.
Tier F Bieske, W. (1951). Igor Stawinsky: Messe 1948. Musik und Kirche, 21, 12‐19.
D'achova, L. S. (2006). Neocanonic characteristics of Stravinsky's Mass. In S. I.
Savenko & G. A. Moiseev (Eds.), Stravinsky in the context of time and
place: Materials from the scholarly conference (pp. 67‐85). Moskva,
Russia: Gosudarstvennaâ Konservatoriâ imeni P.I. Čajkovskogo.
D'ackova, L. S. (2007). Symbol and ritual in Stravinsky's Mass. In M. I. Katunan
(Ed.), Myth, Music, Rite (pp. 241‐252). Moskva, Russia: Kompozitor.
215
Stravinsky, Igor Mass for Chorus and Double Wind Quintet
Kahmann, B. (1982). Stravinsky's Mass. Gregoriusblad: Tijdschrift Tot
Bevordering Van Liturgische Muziek, 106, 90‐95.
Karrallus, M. (1985). Mit quinten und chromatischen zirkel harmonische
feldvermessung in Strawinkys Spatwerk. Neue Zeitschrift fur Musik,
146(1), 8‐12.
Malyševa, E. (1982). On the Georgian roots of the (Stravinsky) Mass.
Sovetskaâ Muzyka, 46(7), 92‐94.
Rehm, G. (1985). Ein beitrag zur tonalen‐atonikalen harmonik: Harmonische
analyse von Hindemiths 1. Orgelsonate (letztet Satz) und Strawinskys
Agnus Dei. Musik und Kirche, 55, 172‐180.
Schneider, G. (2011). Tradition and innovation in the Mass by Igor Stravinsky.
In V. V. Smirnov (Ed.), Ustilug—Hollywood: About Stravinsky and his
works—Collection of articles (pp. 107‐134). St. Petersburg, Russia,
Kompozitor.
Schneider, H. (2008). Tradition and reorientation in Igor Stravinsky's Mass.
Acta Musicologica, 80(2), 251.
Symphonies of Wind Instruments
Stravinsky, Igor
(original and revised versions)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
9 5 4 8 6 32
Tier 1 Bowles, R. W. (1979). Stravinsky’s Symphonies of Wind Instruments for
twenty‐three winds: An analysis. Journal of Band Research, 15(1): 32‐
37.
Bowles identifies a series of questions or riddles regarding the
Symphonies that make it difficult to understand, from the title to the lack of
development, in the traditional sense, of any of the eleven identifiable
themes. Further challenges to the conductor are discussed as to multiple
“solo” markings. A detailed description of each theme is made, including its
location and development, if applicable. Harmony and tonality are discussed,
addressing polychords and suggesting that a more horizontal view of tonality
is appropriate.
216
Symphonies of Wind Instruments
Stravinsky, Igor
(original and revised versions)
Linsell, G. E. (2007). Igor Stravinsky: Wind ensemble works in context
(Doctoral dissertation, Arizona State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3270599)
Linsell examines five works for wind ensemble: Symphonies pour
Instruments a Vent, Mavra, Octet, Concerto pour Piano Suivi D’orchestre
D’harmonie, and Oedipus Rex. Instrumentation and formal structure are
discussed in each work, with further examination of Stravinsky’s use of
thematic and motivic material. The cadenza in the Piano Concerto is discussed
in further detail.
Ochoa, R. C. (1993). Stravinsky’s Symphonies of Wind Instruments: A
comparison of the 1920 and 1947 versions (Doctoral dissertation,
University of Cincinnati). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9424581)
Ochoa examines the differences between the 1920 and 1947 versions
of the Symphonies in terms of the development of Stravinsky’s Neoclassical
style. He provides context of Stravinsky’s development prior to the Octet and
during the post‐romantic time period. A detailed examination of other works
during each time period reflects on each version in terms of instrumentation
and style. A step‐by‐step comparison is made of the two versions, which
includes some analytical discussion. Ochoa also includes a conductor’s guide,
discussing tempo ratios, conducting issues, and Stravinsky conducting
Stravinsky.
Post, J. B. (2000). Symphonic reflections: For intermediate college‐level wind
ensemble with a review of existing literature and a detailed analysis
(Doctoral dissertation, University of Northern Colorado). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 9999514)
Post asserts the end of a music era at the end of the twentieth
century, divided into four periods: Impressionism/Primitivism, Neoclassicism,
Pervasive Serialism/Avant‐Garde, and The New Tonality. A work from each
period is analyzed as the basis for a movement of an original composition:
Stravinsky’s Symphonies of Wind Instruments; Hindemith’s Konzertmusick fur
Blasorchester, Op. 41; Boulez’s Ritual in Memoriam Bruno Maderna; and
Rogers’ Prevailing Winds. The chronological analysis is based on the form and
structure of the work, focusing on compositional techniques.
217
Symphonies of Wind Instruments
Stravinsky, Igor
(original and revised versions)
Ragge, M. (1987). The development of 'Structural orchestration' in Stravinsky's
"Symphonies of Wind Instruments" (Doctoral dissertation, England:
University of London). (OCLC No. 602046746)
Sharp, C. (2011). A study of orchestration techniques for the wind
ensemble/wind band as demonstrated in seminal works (Doctoral
dissertation, University of Florida). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 883387060)
Sharp discusses several works in terms of orchestration and texture:
Holst’s First Suite in E‐flat for Military Band, Schmitt’s Dionysiaques, Op. 62,
No. 1, Stravinsky’s Symphonies of Wind Instruments, Grainger’s Lincolnshire
Posy, Schoenberg’s Theme and Variations, Op. 42a, Hindemith’s Symphony in
B flat, Husa’s Music for Prague 1968, Schwantner’s and the mountains rising
nowhere, Colgrass’ Winds of Nagual, and Grantham’s Fantasy Variations.
Analyses examine instrumentation and background of the work. A structural
analysis includes some harmonic and thematic discussion, but focuses on
textural, instrumentation and orchestral aspects.
Stirling, J. G. (1996). Igor Stravinsky's Symphonies of Wind Instruments: A
"constructive" encounter with modernism (Doctoral thesis,
Northwestern University). (OCLC No. 36080779)
Tyra, T. N. (1971). Analyses of three twentieth‐century compositions for wind
ensemble (Doctoral thesis, University of Michigan). (OCLC No.
5868326)
Tyra provides in‐depth analysis on three important works for wind
ensemble: Stravinsky’s Symphonies of Wind Instruments, Varese’s Octandre,
and Penderecki’s Pittsburgh Overture. For each work, the author examines
historical context: Detailing the composer’s biography, the genesis of the
work, and first performances. A detailed stylistic analysis follows, looking at
structure, format, tempos, dynamics, pitch sources, melodic devices,
harmonic devices, and instrumentation and orchestration. The research then
addresses formal compositional analysis procedures and performance
problems.
218
Symphonies of Wind Instruments
Stravinsky, Igor
(original and revised versions)
Tyra, T. (1972). An analysis of Stravinsky’s Symphonies of Wind Instruments.
Journal of Band Research, 8(2), 6‐ 39.
Tyra discusses Stravinsky’s life, education, influences and style, along
with the genesis, premiere and reception of the Symphonies. A stylistic
examination includes a structural analysis of its episodes and discussion of
melodic devices, harmonic devices, instrumentation and orchestration. A
formal analysis is chronological and focuses on the development an tonal
center movement. Tyra includes a discussion on performances issues,
challenges, technical problems, and structural problems.
Tier 2 O'Connor, J. P. (1990). Symphonies of Wind Instruments (1920/1947) : Igor
Stravinsky: Analysis essay (Master thesis, National University of
Ireland). (OCLC No. 812193896)
Rehding, A. (1998). Towards a logic of discontinuity in Stravinsky’s
Symphonies of Wind Instruments: Hasty, Kramer and Strauss
Reconsidered. Music Analysis, 17, 39‐65.
Straus, J. (1982). A principle of voice leading in the music of Stravinsky. Music
Theory Spectrum, 4, 106‐124.
Wilson, D. M. (1962). Stravinsky's harmonic procedures in the "Symphonies of
Wind Instruments" (Master thesis, Cornell University). (OCLC No.
64037834)
Yin, F. (1990). The compositional process in four symphonies by Igor Stravinsky
(Master thesis, Rice University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 1342322)
Tier 3 Lynch, J. P. (2000). Symphonies of Wind Instruments, Igor Stravinsky. In R.
Miles (Ed.) Teaching Music Through Performance in Band (Vol. 3, pp.
754‐762). Chicago, GIA Publications.
Van den Toom, P. C. (1983). The music of Igor Stravinsky (pp. 337‐344). New
Haven, CT: Yale University Press.
Walsh, S. (1996). Stravinsky's Symphonies: Accident or Design?. In C. Ayrey &
M. Everist (Eds.), Analytical Strategies and Musical Interpretation:
Essays on Nineteenth‐ and Twentieth‐Century Music (pp. 35‐71).
Cambridge: Cambridge University Press.
219
Symphonies of Wind Instruments
Stravinsky, Igor
(original and revised versions)
White, W. (1979). Stravinsky, the composer and his works (pp. 291‐298).
Berkeley: University of California Press.
Tier 4 Cone, E. T. (1962). Stravinsky: The progress of a method. Perspectives of New
Music, 1(1), 18‐26.
Craft, R. (1983‐1984). A. On the Symphonies of Wind Instruments. B. Toward
Corrected Editions of the Sonata, Serenade, and Concerto for Two
Pianos. C. The Chronology of the Octet. Perspectives of New Music, 22,
448‐ 463.
Johnson, L. K. (1987). Stravinsky’s Symphonies of Wind Instruments. Journal
of the Conductors Guild, 8(4).
Keever, H. T. (1988). Stravinsky’s The Rake’s Progress: An analysis based on
Edward T. Cones theory of stratification, interlock, and synthesis
(Doctoral dissertation, Florida State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8909939)
Kramer, J. (1978). Moment form in twentieth‐century music. The Musical
Quarterly, 64(2), 177.
Reade, E. W. (1979). A study of rhythm in the serial works of Igor Stravinsky
(Doctoral dissertation, Indiana University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7921327, OCLC No. 671571526)
Schmidt, D. J. (2000). Bookends of the twentieth century: Compositional
elements in three wind pieces from the 1920’s and their impact on two
wind pieces of the 1990’s (Doctoral dissertation, University of
Kentucky). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 9996052)
Wason, R. W. (1994). Toward a critical edition of Stravinsky's Symphonies of
Wind Instruments. In F. J. Cipolla & D. Hunsberger (Eds), The wind
ensemble and its repertoire: Essays on the fortieth anniversary of the
Eastman Wind Ensemble (pp. 121‐140). Rochester, NY: University of
Rochester.
Tier F Decarsin, F. (1987). Les Symphonies pour Instruments a Vent de Stravinsky:
Demi du present et mise en question d'une direction du temps.
Analyse Musicale, 6, 38‐43.
220
Symphonies of Wind Instruments
Stravinsky, Igor
(original and revised versions)
Grondines, P. (1996). Analyse des Symphonies Dinstruments a Vent (version
de 1947) digor stravinsky selon la theorie des ensembles (Master
thesis, Canada: University Laval). Retrieved from ProQuest
Dissertations and Theses. (UMI No. MM14175)
Gubernikoff, C. (2000). Stravinsky: Symphonies of Wind Instruments. In A.
Cavazotti & F. Borem (Eds.), Proceedings of the first national
conference on research on musical performance. I. Horizonte, Brazil:
Multimídia Belo.
Schweiszer, K. (1984). …nicht zur befriedigung sentimentaler bedurfnisse':
Anmerkung zu Igor Stawinskys Blasersinfonien. In W. Breig, R.
Brinkmann, & E. Budde (Eds.), Anaysen: Beitrage zu einer
Problemgeschichte des Komponierens. Stuttgart: Steiner.
Somfai, L. (1972). Symphonies for Wind Instruments (1920) – Observations on
Stravinsky’s organic construction. Studia Musicologica, 14(1‐4), 355‐
383.
Van den Toom, P. C. (1998). Metrical displacement in Stravinsky. Mitteilungen
der Paul Sacher Stiftung, 11, 24‐28.
Stravinsky, Igor Symphony of Psalms
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
6 24 3 20 7 60
Tier 1 Chamberlain, B. B. (1979). Igor Stravinsky’s Symphony of Psalms: An analysis
for performance (Doctoral dissertation, Indiana University). (UMI No.
0359323, OCLC No. 6184137)
Chamberlain examines the genesis of Symphony of Psalms, including
the influence of Koussevitzky, the Boston Symphony Orchestra commission,
and early sketches of themes throughout the work. Analyses of the three
movements includes details of motives, their uses and suggestions of the
gesture’s origin and influence within the work. Chamberlain also offers
performance suggestions, including ensemble setup, common execution
issues, and thematic analogies.
221
Stravinsky, Igor Symphony of Psalms
Cole, V. L. (1980). Analyses of Symphony of Psalms (1930, rev. 1948) and
Requiem Canticles (1966) by Igor Stravinsky, and Canticle to the Sea
for large chorus and orchestra on a text from Walt Whitman (original
composition) (Doctoral dissertation). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 8111218)
Cole presents an original composition based on Stravinsky’s
compositional processes in Symphony of Psalms and Requiem Canticles. Cole
examined each work in light of Webern’s influence, causing changes in
harmony, melody, phrase character, rhythm, pulse, orchestration, text setting
and motivic identity. Chronological analysis focuses on phrase structure,
tonality and orchestration.
Kang, J. M. (2007). An analysis of Stravinsky’s Symphony of Psalms focusing on
tonality and harmony (Doctoral dissertation, Ohio State University).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 3286802)
Kang presents analysis of Symphony of Psalms solely in terms of
tonality and harmony. Analysis is organized by topic: The use of C tonality as
the tonal frame, polytonality and bitonality, other types of extended tonality,
and new harmonic materials. The document includes musical examples, but is
not a complete chronological analysis.
Kim, Y. (2009). Volume I. reconciliation: A study of words and music in
Schoenberg’s Pierrot Lunaire, Stravinsky’s Symphony of Psalms and
Requiem Canticles, and Britten’s War Requiem. Volume II. Eo‐meo‐ni
(mother) [[open o]‐m[open o]‐ni] for medium voice and string
orchestra (Doctoral dissertation, University of California, Los Angeles).
Retrieved from ProQuest Dissertations and Theses. (UMI No. 3364040)
Kim presents an original composition based on research of text setting
as seen in Schoenberg, Stravinsky and Britten. Each work is examined in terms
of the setting of text to the instrumental phrase. Analysis is brief and includes
tonality references.
222
Stravinsky, Igor Symphony of Psalms
Klein, R. Z. (1995). The value of analysis in the maturation of cognitive
musicianship: An experiential chronicle (Doctoral dissertation,
Duquesne). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 1378739)
Klein explores the value of harmonic and compositional analysis as a
sign of musical maturation through a constructivist learning theoretical
approach. Appendices attached to this philosophical paper include Klein’s
analyses of the Symphony of Psalms separated by a period of decades. Both
include graphic formal analysis and descriptive chronological commentary
regarding compositional techniques, pitch content, formal structure and
motives.
Rogers, J. F. (1996). Part I. Symphony of Cities (original composition); part II.
Formal process and proportion in Stravinsky’s Symphony of Psalms
(Doctoral dissertation). Retrieved from ProQuest Dissertations and
Theses. (UMI No. 9628401)
Rogers presents an original composition based upon research of
formal processes of Symphony of Psalms. Analysis incorporates the work of
Edward Cone as outlined in his The Progress of a Method, providing
commentary and extensions on Cone’s analysis. Included is a comparison of
the analysis between the movements. Rogers also reviews the theoretical
procedures of Jonathan Kramer and Joseph Straus.
Tier 2 Baar, D. J. (1988). A conductor's guide to the Symphony of Psalms by Igor
Stravinsky (Master thesis, Bowling Green State University). (OCLC No.
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0 0 1 0 0 1
Tier 3 Kinder, K. (2002). Mosaic, Michael Tippett. In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 4, pp. 840‐852). Chicago, GIA
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Varese, Edgard Deserts
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 6 0 5 5 20
Tier 1 Bernard, J. W. (1977). A theory of pitch and register for the music of Edgard
Varèse. Volume 1: Text. Volume 2: Examples in graphic notation
(Doctoral dissertation, Yale University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7727059)
Bernard examines theoretical writings regarding the analysis of
Varese’s music, and presents an analytical approach to his music. Detailed
analyses of Integrales, Ecuatorial and Deserts are included based on the
developed principles. Descriptive chronological analysis focuses on how each
event is developed, reinforces and/or fits into the piece as a whole. Musical
examples are not included.
Blyth, A. (1986). Pitch structure and process in Edgard Varèse's Déserts.
Studies In Music (Australia), 20, 62‐90.
Blyth presents a detailed analysis of Varese’s compositional process in
Deserts. The discussion identifies sets that function as motivic, melodic and
harmonic ideas. Blyth then examines each “part” and the compositional
process of how Varese manipulated the material. Analysis includes structural
diagrams, and musical examples.
Morse, H. W. (1981). The music of Edgard Varese with analysis of Integrales
and Deserts (Doctoral dissertation, University of Arizona). (UMI No.
0353715, OCLC No. 221616333)
Tedman, K. D. (1983). Edgard Varèse: Concepts of organized sound (Doctoral
dissertation, Great Britain: University of Sussex). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8403991)
Tedman developed a method for analyzing Varese’s works via a
consistent compositional approach to process and form. While Varese’s
writings describe form and process, they do not address pitch organization
and structural elements. Tedman sought to identify such elements through
study of formulation, development and formal organization in eight different
works. Intervallic organization is examined through the theoretical methods
of Marc Wilkinson, Chou Wen‐Chung and Jonathan Bernard. These concepts
are used to provide a detailed analysis of Deserts, Noctunal and Offrandes.
228
Varese, Edgard Deserts
Tier 2 Dijk, M. (2004). Montage technique in Edgard Varèse's Déserts. Magazine for
Music Theory, 9(2), 121.
Mair, L. H. (1970). Rhythmic structure in three works by Edgard Varese:
Integrales, Ecuatorial, and Deserts (Master thesis, University of
Hawaii). (OCLC No. 16320767)
Mattis, O. (1992). Varèse's multimedia conception of "Déserts". The Musical
Quarterly, 76, 557‐583.
Smith, L. W. (1983). Déserts by Varèse: A sound mass analysis and
interpretation (Master thesis, Butler University). (OCLC No. 9637630)
Sprowles, M. D. (2004). Geometric pitch structure and form in Deserts by
Edgard Varese (Master thesis, University of Louisville). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 1420273)
Whittall, A. (1967). Varèse and organic athematicism. The Music Review,
28(4), 311.
Tier 4 Jaffe, P. (1989). Edgard Varese’s orchestral and ensemble works: History,
theory and conducting analyses (Doctoral dissertation, Stanford
University). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 8925813)
Morrison, K. J. (1992). Some interparametric correlations in Edgard Varèse's
Déserts (Master thesis, University of British Columbia). (OCLC No.
29979033)
Stimson, A. M. (1996). Musical time in the Avant Garde: The Japanese
connection (Doctoral dissertation, University of California, Santa
Barbara). Retrieved from ProQuest Dissertations and Theses. (UMI No.
9626207)
Williams, J. T. (1965). Elements of form in the music of Edgar Varèse (Master
thesis, Indiana University). (OCLC No. 53506167)
Yannay, Y. (1974). Toward an open‐ended method of analysis of
contemporary music: A study of selected works by Edgard Varèse and
Gyorgy Ligeti (Doctoral dissertation, University of Illinois). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 7511887)
229
Varese, Edgard Deserts
Tier F Gertich, F. (1992). The tape interpolations in Déserts. (pp. 56‐63). In H. Motte‐
Haber (Ed.), Edgard Varèse: Emancipation of sound. Hamburg,
Germany: Wolke Hofheim.
Nanz, D. (2001). The orchestral works of Edgar Varèse: Tradition and renewal
(Doctoral dissertation, University of Salzburg).
Nanz, D. (2003). Edgard Varèse: The Orchestral Works. Berlin: Lukas‐Verlag.
Rosselli, T. (1992). The musical thought of Edgard Varèse and its precipitation
in the compositional principle of Déserts (Non‐doctoral dissertation,
University of Florence).
Steinhauer, I. (2004.) Musical and compositional space object by Edgard
Varèse (Doctoral dissertation, University of Frankfurt). (OCLC No.
225872099)
Varese, Edgard Hyperprism
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
4 6 1 4 3 18
Tier 1 Bloch, D. R. (1973). The music of Edgard Varèse (Doctoral dissertation,
University of Washington). (UMI No. 7313794, OCLC No. 1213120)
Bloch examines the relationship of Varese’s beliefs and statements on
music to that of his actual compositions. Bloch scrutinizes the artistic
environment in the early twentieth century, specific influences that created
Varese’s general musical concepts, and specific results in his compositions. An
in‐depth analysis of Hyperprism in included. It examines concepts of sound
resources, zones of intensity, density of content, atomization and re‐
association, planes, masses and volumes, and spatial projection concepts.
230
Varese, Edgard Hyperprism
Clayton, P. W. (1986). Varèse: the chamber works of the 1920's: Detailed
analyses of Hyperprism, Octandre and Intégrales (Doctoral
dissertation, Sheffield University). (OCLC No. 604255384)
Clayton analyzes three works to examine the mechanics of Varese’s
style. He addresses topics of pitch organization of note‐groups and sound
masses, harmony, pitch, and melody; rhythm organization; and
instrumentation. Analyses include discussion on the background, genesis and
significance of each work, basic structure, and rhythm. Detailed chronological
analysis describes every aspect of sound in context of its relation to the entire
work.
Tedman, K. D. (1983). Edgard Varèse: Concepts of organized sound (Doctoral
dissertation, Great Britain: University of Sussex). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8403991)
Tedman developed a method for analyzing Varese’s works via a
consistent compositional approach to process and form. While Varese’s
writings describe form and process, they do not address pitch organization
and structural elements. Tedman sought to identify such elements through
study of formulation, development and formal organization in eight different
works. Intervallic organization is examined through the theoretical methods
of Marc Wilkinson, Chou Wen‐Chung and Jonathan Bernard. These concepts
are used to provide a detailed analysis of Deserts, Noctunal and Offrandes.
Wood, D. E. (1974). A paradigm for the study and performance of Integrales
and Hyperprism, two instrumental works by Edgard Varèse (Doctoral
dissertation, Ball State University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7503723)
Wood examines the extant literature in analysis of Varese’s style and
compositions. Detailed analysis of Integrales and Hyperprism includes a sound
mass analysis. This research is cataloged by topic: form, motives, vertical
sonorities, pitch control, instrumentation and orchestration, rhythmic
devices, and unifying devices. Wood also discusses a method for performance
preparation via topics of melody, dynamics, rhythm and timbre.
Tier 2 Blyth, A. (1989). Pitch structure and process in three compositions of Edgar
Varèse. Miscellanea Musicologica: Adelaide Studies In Musicology
(Australia), 16, 159.
231
Varese, Edgard Hyperprism
Fulford, W. D. (1979). An analysis of sound masses in Hyperprism, Octandre,
and Integrales, three chamber works by Edgard Varèse (Master thesis,
California State University, Fullerton). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 1313487)
Maxwell, H. J. (1980). Musical space in Edgard Varèse's Octandre and
Hyperprism (Master thesis, Brigham Young University). (OCLC No.
13929351)
Meister, C. D. (1994). Convergence as a mode of musical organization:
Comparing Vareses' Hyperprism and Penderecki's Polymorphia. Ex
Tempore, 7(1), 110‐128.
Nazarian, S. (1989). "Hyperprism," a tectonic landscape of sound (Master
thesis, Cornell University). (OCLC No. 64014282)
Siddons, J. (1971). Varèse's Hyperprism: Context and construction (Master
thesis, University of London). (OCLC No. 729594529)
Tier 3 Bernard, J. W. (1987). The music of Edgard Varese. New Haven, CT: Yale
University Press.
Tier 4 Meister, C. D. (1983). Textural analyses (Doctoral dissertation, Washington
University in St. Louis). (UMI No. 8320545, OCLC No. 28474784)
Morgan, R. P. (1979). Notes on Varese's rhythm. In (pp. 9‐25) S. van Solkema
(Ed.), The New Worlds of Edgard Varese: A Symposium. New York:
Institute for Studies in American Music.
Williams, J. T. (1965). Elements of form in the music of Edgar Varèse (Master
thesis, Indiana University). (OCLC No. 53506167)
Winther, R. (2004). An annotated guide to wind chamber music (p. 315).
Miami, FL: Warner Bros. Publications.
Tier F Boulez, P. (1979). Edgard Varèse: Hyperprism, Octandre, Intégrales.
Schweizerische Musikzeitung/Revue Musicale Suisse, 119(2), 67.
Paquette, D. (1981). Varèse: Analyse d'Intégrales et d'Hyperprism : vers une
caractérisation stylistique (Master thesis, University of Montreal).
(OCLC No. 421950467)
232
Varese, Edgard Hyperprism
Riethmüller, A. (1992). Melody in Edgard Varèse? Between Offrandes and
Hyperprism. In H. Motte‐Haber (Ed.), Edgard Varèse: Emancipation of
sound (pp. 64‐80). Hamburg, Germany: Wolke Hofheim.
Varese, Edgard Integrales
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
7 8 1 9 10 35
Tier 1 Bernard, J. W. (1977). A theory of pitch and register for the music of Edgard
Varèse. Volume 1: Text. Volume 2: Examples in graphic notation
(Doctoral dissertation, Yale University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7727059)
Bernard examines theoretical writings regarding the analysis of
Varese’s music, and presents an analytical approach to his music. Detailed
analyses of Integrales, Ecuatorial and Deserts are included based on the
developed principles. Descriptive chronological analysis focuses on how each
event is developed, reinforces and/or fits into the piece as a whole. Musical
examples are not included.
Clayton, P. W. (1986). Varèse: the chamber works of the 1920's: Detailed
analyses of Hyperprism, Octandre and Intégrales (Doctoral
dissertation, Sheffield University). (OCLC No. 604255384)
Clayton analyzes three works to examine the mechanics of Varese’s
style. He addresses topics of pitch organization of note‐groups and sound
masses, harmony, pitch, and melody; rhythm organization; and
instrumentation. Analyses include discussion on the background, genesis and
significance of each work, basic structure, and rhythm. Detailed chronological
analysis describes every aspect of sound in context of its relation to the entire
work.
Morse, H. W. (1981). The music of Edgard Varese with analysis of Integrales
and Deserts (Doctoral dissertation, University of Arizona). (UMI No.
0353715, OCLC No. 221616333)
233
Varese, Edgard Integrales
Ramsier, P. (1972). An analysis and comparison of the motivic structure of
Octandre and Integrales, two instrumental works by Edgar Varese
(Doctoral dissertation, New York University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7226609)
Ramsier develops a method for identifying motivic structures and
their variations in each of these works. He provides evidence of principal
motives and methods of development through rhythmic variation and
fragmentation. Stylistic practices of motivic development, substitution of
rhythmic for melodic motives, and formal structure are examined and
compared to traditional ternary and sonata forms.
Richardson, C. (2005). Edgard Varese and the visual avant‐garde: A
comparative study of Integrales and works of art by Marcel Duchamp
(Doctoral dissertation, University of Cincinnati.). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 3191819)
Richardson compares the life and works of Varese to Duchamp
through an examination of Integrales and Nude Descending a Staircase, No. 2,
oil on canvas, 1912; Tu m,’ oil and pencil on canvas, with bottle brush, three
safety pins, and a bolt, 1918; and his Rotary Glass Plates (Precision Optics),
five painted glass plates, wood and metal braces, turning on a metal axis,
electrically operated, 1920. Comparisons are made through conceptual and
technical style characteristics. Analysis of Integrales includes topics of
crystallization, sound‐masses, liberation of sound, expansion, projection,
penetration and transmutation, rhythm = form = stability, and dynamics and
intensity.
Tedman, K. D. (1983). Edgard Varèse: Concepts of organized sound (Doctoral
dissertation, Great Britain: University of Sussex). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8403991)
Tedman developed a method for analyzing Varese’s works via a
consistent compositional approach to process and form. While Varese’s
writings describe form and process, they do not address pitch organization
and structural elements. Tedman sought to identify such elements through
study of formulation, development and formal organization in eight different
works. Intervallic organization is examined through the theoretical methods
of Marc Wilkinson, Chou Wen‐Chung and Jonathan Bernard. These concepts
are used to provide a detailed analysis of Deserts, Noctunal and Offrandes.
234
Varese, Edgard Integrales
Wood, D. E. (1974). A paradigm for the study and performance of Integrales
and Hyperprism, two instrumental works by Edgard Varèse (Doctoral
dissertation, Ball State University). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 7503723)
Wood examines the extant literature in analysis of Varese’s style and
compositions. Detailed analysis of Integrales and Hyperprism includes a sound
mass analysis. This research is cataloged by topic: form, motives, vertical
sonorities, pitch control, instrumentation and orchestration, rhythmic
devices, and unifying devices. Wood also discusses a method for performance
preparation via topics of melody, dynamics, rhythm and timbre.
Tier 2 Babbitt, M. (1966). Edgard Varese: A few observations on his music.
Perspectives of New Music, 4(2), 14‐22.
Bernard, J. W. (1972). Music that grows: Edgard Varèse's philosophy of sound
and its manifestation in Octandre and Intégrales (Bachelor thesis,
Harvard University). (OCLC No. 78727329)
Blyth, A. (1989). Pitch structure and process in three compositions of Edgar
Varèse. Miscellanea Musicologica: Adelaide Studies In Musicology
(Australia), 16, 159.
Fulford, W. D. (1979). An analysis of sound masses in Hyperprism, Octandre,
and Integrales, three chamber works by Edgard Varèse (Master thesis,
California State University, Fullerton). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 1313487)
Kotō, T. (1989). Basic cells and foreign bodies in Varèse's Intégrales. Sonus: A
Journal of Investigations Into Global Musical Possibilities, 9(2), 36.
Mair, L. H. (1970). Rhythmic structure in three works by Edgard Varese:
Integrales, Ecuatorial, and Deserts (Master thesis, University of
Hawaii). (OCLC No. 16320767)
Mäkelä, T. (1998). 'Melodic totality' and textural form in Edgard Varèse's
Intégrales: Aspects of modified tradition in early new music.
Contemporary Music Review, 17(1), 57‐71.
Strawn, J. (1978). The Intégrales of Edgard Varèse: space, mass, element, and
form. Perspectives Of New Music, 17(1), 138.
235
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Tier 3 Mâche, F.‐B., & Tremblay, G. ( 1985). Analyse d'intégrales. Varèse, Twenty
Years After. 111‐123. (OCLC No. 605525479)
Tier 4 Cox, D. H. (1988). Thematic interrelationships between the works of Varese.
The Music Review, 49(3), 205‐217.
Decroupet, P. (2010). Varese, Serialism and the Acoustic Metaphor. In M.
Paddison & I. Deliege (Eds.), Contemporary Music: Theoretical and
Philosophical Perspectives (pp. 117‐132). Burlington VA: Ashgate
Publishing.
McEwen, H. (2009). A discussion of Xenakis and Varese, metaphor and simile,
music and architecture. South African Journal of Art History, 24(3).
Retrieved from http://repository.up.ac.za/handle/2263/17627
Morgan, R. P. (1979). Notes on Varese's rhythm. In (pp. 9‐25) S. van Solkema
(Ed.), The New Worlds of Edgard Varese: A Symposium. New York:
Institute for Studies in American Music.
Post, N. (1981‐1982). Varese, Wople and the oboe. Perspectives of New
Music, 20, 135‐148.
Stempel, L. (1979). Varèse's 'awkwardness' and the symmetry in the 'frame of
12 tones': an analytic approach. The Musical Quarterly, 65(2), 148.
Williams, J. T. (1965). Elements of form in the music of Edgar Varèse (Master
thesis, Indiana University). (OCLC No. 53506167)
Winther, R. (2004). An annotated guide to wind chamber music (p. 302).
Miami, FL: Warner Bros. Publications.
Yannay, Y. (1974). Toward an open‐ended method of analysis of
contemporary music: A study of selected works by Edgard Varèse and
Gyorgy Ligeti (Doctoral dissertation, University of Illinois). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 7511887)
Tier F Authier, R. (2007). Intégrales by Edgard Varèse: A study of the relationships
between winds and percussion. Musurgia: Analyse Et Pratique
Musicales, 14(3‐4), 7.
Ballstaedt, A. (1996). The figure in Edgard Varèse's Intégrales. In U. Kienzle, P.
Ackermann, & A. Nowak (Ed.), Festschrift für Winfried Kirsch zum 65.
Geburtstag (pp. 456‐476). Tutzing, Germany: Hans Schneider.
236
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Boulez, P. (1979). Edgard Varèse: Hyperprism, Octandre, Intégrales.
Schweizerische Musikzeitung/Revue Musicale Suisse, 119(2), 67.
Danuser, H. (1992). Music beyond narrativity? On Edgard Varèse's Intégrales.
In H. Motte‐Haber (Ed.), Edgard Varèse: Emancipation of sound (pp.
81‐105). Hofheim, Germany: Wolke Hofheim.
Gruhn, W. (1992). Space and time in Edgard Varèse: Compositional substance
and aesthetic category. In H. Motte‐Haber (Ed.), Edgard Varèse:
Emancipation of sound (pp. 106‐120). Hamburg, Germany: Wolke
Hofheim.
Mattis, O. (1998). Edgard Varèse: Intégrales (1924‐25). In F. Meyer (Ed.),
Settling new scores: Music manuscripts from the Paul Sacher
Foundation (pp. 174‐176). Mainz, Switzerland: Shott Musik
International.
Paquette, D. (1981). Varèse: Analyse d'Intégrales et d'Hyperprism : vers une
caractérisation stylistique (Master thesis, University of Montreal).
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Strawn, J. (1975). Space and sound mass in Varèse's Intégrales. Melos/NZ:
Neue Zeitschrift Für Musik (NZ And Melos Combine), 1(6), 446‐56.
Wilheim, A. (1977). The Genesis of a Specific Twelve‐Tone System in the
Works of Varèse. Studia Musicologica, 19(1), 203‐226.
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237
Vaughan Williams, Ralph English Folk Song Suite
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 6 4 2 0 15
Tier 1 Fennell, F. (1976). Basic band repertory: Vaughan Williams’ Folk Song Suite.
The Instrumentalist, 30(11), 45‐48.
Reprinted: Fennell, F. (2005). An analysis of Vaughan Williams' English Folk
Song Suite: A classic from our archives. The Instrumentalist, 59(10),
25‐26, 28‐31, 33.
Fennell presents the instrumentation and length of the work, along
with brief biography of Vaughan Williams, outlining his interest in folk songs.
Each movement is described in terms of its source material, followed by a
description of conducting challenges. Fennell examines instrumentation,
cadences, harmony, texture, style and rhythm and present solutions to
common performance challenges.
Pittman, Jr., D. S. (1979). Percy Grainger, Gustav Holst, and Ralph Vaughan
Williams: A comparative analysis of selected wind band compositions
(Doctoral dissertation, Memphis State University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8120740)
Pittman utilizes Schenkerian theory to examine and compare three
works: Grainger’s Lincolnshire Posy, Holst’s Second Suite in F, and Vaughan
Williams’ Folk Song Suite. Analyses focus on elements of tonality, harmony,
melody, rhythm, form, instrumentation, and performance practices. Pittman
discusses the similar use of elementary structural forms, and differences
between Grainger and both Holst and Vaughan Williams in harmony, rhythm
and scoring.
Tier 2 Holtz, S. M. (2009). Percy Grainger and Ralph Vaughan Williams: A
comparative study of English folk‐song settings for wind band (Master
thesis, University of Texas, El Paso). Retrieved from ProQuest
Dissertations and Theses. (UMI No. 1473871)
Jefferson, M. E. (2004). The treatment of folksong elements in Folk Song Suite
by Ralph Vaughan Williams (Master thesis, University of Mississippi).
(OCLC No. 56566373)
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Vaughan Williams, Ralph English Folk Song Suite
Johnson, L. D. (2008). An examination of the works of Mother Earth by David
Maslanka, English Folk Song Suite by Ralph Vaughan Williams,
Symphony #1 In Memoriam Dresden ‐ 1945 by Daniel Bukvich, and
Concertino for B[flat] clarinet by Carl Maria Von Weber, OP. 26
arranged by M.L. Lake (Master thesis, Kansas State University). (OCLC
No. 250673257)
Knabe, T. E. (2003). A conductor's analysis of four works for wind band
(Master thesis, University of North Dakota). (OCLC No. 224446532)
Payne, E. (1954). Vaughan Williams and folk‐song. The Music Review, 15, 103‐
126.
VanGilder, C. R. (2007). An examination of works for wind band: They Led my
Lord Away arranged by Fred J. Allen, English Folk Song Suite by Ralph
Vaughan Williams, Variation Overture by Clifton Williams, Dance of
the Rose Maidens by Aram Khachaturian, arranged by James Truscello,
Prelude and Rondo by David R. Holsinger, and Valdres Marsj by
Johannes Hanssen, arranged by Loras J. Schissel (Master thesis, Kansas
State University). (OCLC No. 183215940)
Tier 3 English Folk Song Suite, Ralph Vaughan Williams (1997). In R. Miles (Ed.),
Teaching Music Through Performance in Band (Vol. 1, pp. 241‐246).
Chicago, GIA Publications.
Grechesky, R. (2010). English Folk Song Suite, Ralph Vaughan Williams. In R.
Miles (Ed.), Teaching Music Through Performance in Band (Vol. 1,
Second ed., pp. 467‐480). Chicago, GIA Publications.
Mitchell, J. C. (2008). Ralph Vaughan Williams' wind works. Galesville, MD:
Meredith Music Publications.
Rapp, W. (2005). The wind band masterworks of Holst, Waughan Williams,
and Grainger (pp. 29‐41). Galesville, MD: Meredith Music Publications.
Tier 4 Haston, W. A. (1994). Conducting considerations for selected compositions by
Mozart, Grainger, and Vaughan Williams (Master thesis, University of
Texas at El Paso). (OCLC No. 36005279)
Perkins, J. R. (1983). Characteristics of nationalistic style in three folk song
settings for band (Master thesis, Western State College of Colorado).
(OCLC No. 9825981)
239
Vaughan Williams, Ralph Toccata Marziale
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
3 1 3 3 0 10
Tier 1 Fennell, F. (1977). Vaughan Williams’ Toccata Marziale. The Instrumentalist,
31(1), 44‐50.
Fennell, F. (1980). Basic band repertory: British band classics from the
conductor's point of view. Evanston, IL: The Instrumentalist.
The article includes basic information on the work, including
copyright, instrumentation, and premiere. Fennell examines the scoring, title,
and tempo. Analysis is based on topic: main motive, folk song interlude, and
contrapuntal ingenuity. Analysis includes commentary on stylistic descriptions
and performance suggestions, along with discussion of orchestration,
dynamics and compositional techniques.
Tarwater, W. H., Jr. (1958). Analyses of seven major band compositions of the
twentieth century (Doctoral dissertation, Peabody College). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 5901119)
Tarwater examines seven works for band: Hindemith’s Symphony in B‐
Flat for Band; Holst’s Suite in E‐flat for Band; Jacob’s Music for a Festival;
Persichetti’s Divertimento for Band, Psalm for Band, and Symphony for Band;
and Vaughan Williams’ Toccata Marziale. Analyses are chronological based on
the formal structure of the work, focusing on motives, thematic fragments
and their relationship to the work as a whole. Each analysis includes
biographical, publication and first performance information; instrumentation
and scoring; a summary of style characteristics and discussion of major
rehearsal and performance problems.
Tier 2 Reynish, T. (1999). The wind music of Ralph Vaughan Williams. Winds, 14(1),
7‐9.
Tier 3 Creasap, S. & Tanno, Y. (1998). Toccata Marziale, Ralph Vaughan Williams. In
R. Miles (Ed.) Teaching Music Through Performance in Band (Vol. 2,
pp. 522‐527). Chicago, GIA Publications.
Mitchell, J. C. (2008). Ralph Vaughan Williams' wind works. Galesville, MD:
Meredith Music Publications.
Rapp, W. (2005). The wind band masterworks of Holst, Waughan Williams,
and Grainger (pp. 47‐53). Galesville, MD: Meredith Music Publications.
240
Vaughan Williams, Ralph Toccata Marziale
Tier 4 Harvey, B. M. (2007). Essential excerpts for tuba from original works written
for wind ensemble (Doctoral dissertation, University of North Carolina
at Greensboro). Retrieved from http://libres.uncg.edu/ir/uncg/f/umi‐
uncg‐1311.pdf
Helms, S. (1993). Vaughan Williams' Toccata Marziale: A model for teaching
advanced metric concepts in the high school band rehearsal (Master
thesis, Ball State University). (OCLC No. 29631547)
Walters, M. A. (1997). A metrical study of Ralph Vaughan William’s British
wind band work Toccata Marziale (Doctoral dissertation, Arizona State
University). Retrieved from ProQuest Dissertations and Theses. (UMI
No. 9738341)
Wagner, Richard Trauersinfonie
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 1 5 4 1 12
Tier 1 Gambill, T. G. (1979). Contemporary editions of nineteenth century wind band
literature (Doctoral dissertation, Florida State University). Retrieved
from ProQuest Dissertations and Theses. (UMI No. 7926749)
Gambill discusses the body of wind literature composed in the
nineteenth century. He examined six works in greater detail: Beethoven’s
Militair‐marsch, Mendelssohn’s Ouverture fur Harmoniemusik, Holloway’s
Wood Up, Wagner’s Trauersinfonie and Huldigungsmarsch, and Grieg’s
Trauermarsch. Analyses include the history and genesis of each work, and an
examination of the form, harmonic and thematic treatment. Commentary on
the modern edition and a facsimile of the first edition score is included.
Tier 2 Garofalo, R. J. (1992). Richard Wagner: Trauersinfonie. BDGuide, 6(1).
Tier 3 Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith
Music Publications.
Garofalo, R. J. (2009). Richard Wagner: Trauersinfonie. In K. L. Neidig (ed.),
Performance‐Study Guides of Essential Works for Band. Galesville, MD:
Meredith Music Publications.
241
Wagner, Richard Trauersinfonie
Powell, E. (2010). Trauermusik, Richard Wagner. In R. Miles (Ed.), Teaching
Music Through Performance in Band (Vol. 1, Second ed. pp. 754‐760).
Chicago, GIA Publications.
Trauermusik, Richard Wagner (1997). In R. Miles (Ed.), Teaching Music
Through Performance in Band (Vol. 1, pp. 372‐377). Chicago, GIA
Publications.
Votta, M. (1994). Richard Wagner's Trauermusik, WWW 73 (Trauersinfonie).
In F. Cipolla & D. Hunsberger (Eds.), The wind ensemble and its
repertoire: Essays on the fortieth anniversary of the Eastman Wind
Ensemble (pp. 168‐186). Rochester, NY: University of Rochester.
Tier 4 Johnson, L. K. (1980). The wind‐band compositions of Richard Wagner (1813‐
1883). Journal of Band Research, 15(2), 10‐14.
Johnson, L. K. (1981). Richard Wagner’s Trauersinfonie. Journal of Band
Research, 16(2), 38‐42.
Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, VI.
Galesville, MD: Meredith Music Publications.
Votta, M., Jr. (1992). Nineteenth‐century transcriptions and editions: Wagner
revisited. Journal of Band Research, 28(1), 31‐56.
Tier F Kinder, K. (2006). New light on Wagner’s Trauermusik (Trauersinfonie). In B.
Habla (Ed.), Kongressbericht Oberwölz/Steiermark 2004 (pp. 205‐217).
Tutzing, Germany: Hans Schneider.
242
Weill, Kurt Concerto for Violin, Op. 12
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 3 1 1 1 7
Tier 1 Gresham, W. J. (1986). Aspects of style in five works for winds by Kurt Weill
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8627576)
Gresham provides analyses of five Weill works from the 1920’s:
Concerto for Violin and Wind Orchestra, Death in the Forest, Little ThreePenny
Music, Berlin in Light, and Berlin Requiem. Gresham discusses each work: its
genesis, applicable arrangements, and reception. An extensive analysis is
included of each work, organized by topic: instrumentation, orchestration
and scoring; form; melody and rhythm; and harmony. Gresham also provides
commentary comparing stylistic aspects among the works.
Tier 2 Atkins, S. N. (1995). Tonal architecture in selected works by Kurt Weill (Master
thesis, Chinese University of Hong Kong). (OCLC No. 79809781)
Hope, D. (2011). Daniel Hope takes a look at Weill's music with solo violin.
Kurt Weill Newsletter, 29(2), 13.
Jaroschy, F. (1979). In memoriam Stefan Frenkel. Journal Of The Violin Society
Of America, 5(1), 161.
Tier 3 Eichhorn, A., (2010). Music with solo violin by Kurt Weill: Critical report. New
York: Kurt Weill Foundation for Music.
Tier 4 Kowalke, K. H. (1977). Kurt Weill in Europe, 1900‐1935: A study of his music
and writings (Doctoral dissertation, Yale University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 7817596)
Tier F Bruhn, S. (1986). Kurt Weill: Violinkonzert. Melos, 48(2), 84.
243
Weill, Kurt Das Berliner Requiem (voice and winds)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 2 0 0 3 6
Tier 1 Gresham, W. J. (1986). Aspects of style in five works for winds by Kurt Weill
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8627576)
Gresham provides analyses of five Weill works from the 1920’s:
Concerto for Violin and Wind Orchestra, Death in the Forest, Little ThreePenny
Music, Berlin in Light, and Berlin Requiem. Gresham discusses each work: its
genesis, applicable arrangements, and reception. An extensive analysis is
included of each work, organized by topic: instrumentation, orchestration
and scoring; form; melody and rhythm; and harmony. Gresham also provides
commentary comparing stylistic aspects among the works.
Tier 2 Breivik, M. (2003). Weill and Brecht's Das Berliner Requiem: A secular work in
a sacred tradition. Transfiguration: Nordic Journal For Art And
Christianity, 5(1‐2), 271‐290.
Colby, M. D. (1990). Das Berliner Requiem and the development of epic opera
(Master thesis, San Francisco State University). (OCLC No. 24644200)
Tier F Grosch, N. (1996). Note to the 'Berliner Requiem' by Kurt Weill: aspects of its
formation and performance. In N. Grosch, J. Lucchesi & J. Schebera
(Eds.), Kurt Weill Studies (pp. 55‐71). Stuttgart, Germany: Metzler.
Krabbe, N. (1999). Marginalias for Kurt Weill's radio cantata Berliner
Requiem. Danish Yearbook For Music Research, 27, 31‐44.
Krones, H. (1981). Significant works of vocal music. Kurt Weill. Choir
Magazine: Newsletter of the Austrian Workers Sängerbund, (1), 5‐12.
244
Weill, Kurt Little Threepenny Music
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 1 4 0 6
Tier 1 Gresham, W. J. (1986). Aspects of style in five works for winds by Kurt Weill
(Doctoral dissertation, University of Cincinnati). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 8627576)
Gresham provides analyses of five Weill works from the 1920’s:
Concerto for Violin and Wind Orchestra, Death in the Forest, Little ThreePenny
Music, Berlin in Light, and Berlin Requiem. Gresham discusses each work: its
genesis, applicable arrangements, and reception. An extensive analysis is
included of each work, organized by topic: instrumentation, orchestration
and scoring; form; melody and rhythm; and harmony. Gresham also provides
commentary comparing stylistic aspects among the works.
Tier 3 Whittall, A. (1977). Music since the first world war (pp. 98‐101). London, J. M.
Dent and Sons.
Tier 4 Gresham, W. J. (1994). Kurt Weill’s Threepenny Opera and Little Threepenny
Music: Comparisons and observations. Journal of Band Research,
29(2), 14‐27.
Harden, S. C. (1972). The music for the stage collaborations of Weill and
Brecht (Doctoral dissertation, University of North Carolina, Chapel
Hill). Retrieved from ProQuest Dissertations and Theses. (UMI No.
7224795)
Hinton, S. (1990). Kurt Weill: The Threepenny Opera. Cambridge: Cambridge
University Press.
Kowalke, K. H. (1977). Kurt Weill in Europe, 1900‐1935: A study of his music
and writings (Doctoral dissertation, Yale University). Retrieved from
ProQuest Dissertations and Theses. (UMI No. 7817596)
245
Weill, Kurt Mahagonny Songspiel (Six voices and wind ensemble)
Citation Summary Tier 1 Tier 2 Tier 3 Tier 4 F Total
1 0 0 2 2 5
Tier 1 Harden, S. C. (1972). The music for the stage collaborations of Weill and
Brecht (Doctoral dissertation, University of North Carolina, Chapel
Hill). Retrieved from ProQuest Dissertations and Theses. (UMI No.
7224795)
Harden identifies the collaborations of Weill and Brecht as six works:
Mahogonny‐Songspiel, Die Dreigroschenoper, Aufstieg und Fall der Stadt
Mahogonny, Happy End, Der Jasager, and Die sieben Todsunden. An
examination of the Weill and Brecht theory of opera and epic opera is
followed by detailed descriptive analyses in terms of form, instrumentation,
orchestration, rhythm, tonality and harmony. Harden includes comparisons of
Weill and Brecht to their contemporaries and to Weill’s later American works.
Tier 4 Drew, D. (1963). The History of Mahogonny. The Musical Times, 104(1439),
18‐24.
Robinson, J. (2003). Epic opera in embryo: A new source for the Mahagonny‐
Songspiel. In H. Danuser & H. Gottschewski (Eds), Amerikanismus—
Americanism—Weill: The search for cultural identity in the modern
world (pp. 246‐257). Schliengen, Germany: Edition Argus.
Tier F Engelhardt, J. (1984). Gestus und verfremdung: Studien zum musiktheater bei
Strawsinsky und Brecht/Weill. Munich: Katzbichler.
Miceli, S. (1998). Rise and Fall of the City of Mahagonny: An ambiguous model
of musical dramaturgy. In S. Miceli (Ed.), Rules with irony: Essays for
Ennio Morricone's 70th Birthday (pp. 155‐170). Milano, Italy: Suvini
Zerboni.
246
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BIOGRAPHICAL SKETCH
Florida. He currently serves as a Doctoral Teaching Assistant in the Music Education and Band
areas at the Florida State University, where he has worked with all the bands, several chamber
ensembles, and held administrative and teaching responsibilities during the FSU Summer Music
Camps. Mr. Wiggins served as the Director of Bands at Cordova Middle School, where he taught
band students in grades five through eight and implemented a middle school jazz ensemble.
Additionally, he has served as a Graduate Assistant in the Wind Studies Department at the
University of Memphis, conducting, teaching and assisting various wind and chamber groups.
He has also served as the Director of Bands at Tempe High School (Arizona), overseeing
marching, concert, jazz, winter guard, and percussion programs, as well as assisting with
principal bassoon with the Germantown Symphony Orchestra, has played with various wind,
orchestral, and chamber groups at the University of Memphis and Arizona State University.
Conducting at Florida State University. He holds a Master of Music in Wind Conducting from
the University of Memphis and baccalaureate degrees in Orchestral Bassoon Music Performance
and Instrumental Music Education from Arizona State University. He studied bassoon with
Jeffrey Keesecker, Lecolion Washington, Jeffrey Lyman, and Renee Dee; and conducting with
Richard Clary and Kraig Williams. Inspiration for his teaching and conducting come from many
sources, including experiences with Richard Strange, Robert Fleming, Gary Hill, and Jon Gomez.
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