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The purpose of this study was to determine selected scoring techniques of eighteen mainstream wind-band composers from John Philip Sousa to the present. The men were surveys conducted from 1950 through 1985. A master list of 576 wind-band composers was reduced to eighteen, following the criterion of three hundred or more recommendations of their individual works and a limitation that each composer had written at least three original wind-band compositions to qualify as an influential mainstream composer of that genre. selected by a synthesized preferential list of twenty-fiveData were gathered upon a comparative measurement of time, dividing each composition into the smallest common each instrument part in melodic, countermelodic, harmonic, bass-line, doubling, dynamics and solo material. Each composer was introduced in a brief biography, and the formal structure of his work was overviewed, followed by a review of the work as scored. Detailed analysis was made of score instrumentation, individual instrument usage, ranges anddenominator to determine performance percentages, assessing tessituras, choir and family grouping and voice usage, score density and texture, doubling practices and scoring of expression marks. Individual composition and comparative summaries were made.General conclusions drawn from the study were: (1) Compositions within three groupings, March King, English tradition, and American school band composers contains scoring similarities. American professional compositions differed among themselves and from the first three groupings.(2) Professional march composers scored heavily doubled melodies, parallel harmonic parts, counter melodies, vertical accompaniment parts and bass lines contrasted by high-low voices and woodwind-brass voices. Powerful middle ranges and tessituras with upper woodwinds produce brightness to the woodwind sonority. Accented passages were contrasted for relief from traditional loud block dynamic levels. (3) English tradition composers scored a more mellow sound against bright timbred trumpets and trombones. Modal melodies were scored in vertical and horizontal harmonies, with light voice densities. (4) American school band composers featured the clarinet section, with supporting, contrasting brasses. Scoring in middle ranges, cross-cueing with heavy doubling, thick voice densities and loud volume markings are abundant. (5) American professional tradition composers wrote in fragmented melodies over ostinatic patterns. Dissonance is contrasted with high/low tonal registers. Novel instrument combinations produce interesting timbres. Instrument parts become soloistic and orchestral. Ranges and tessituras are wider and contemporary special effects are used effectively. Representative works from different eras of wind-band composition provide great variety.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaf 118). Available also in a digital version from Dissertation Abstracts.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 27, 2007) Vita. Includes bibliographical references.

Treatise (DMA)--Florida State University, 2003. / Advisor: Bentley Shellahamer, Florida State University, School of Music. Title and description from treatise home page (viewed 11-19-03) Document formatted into pages; contains 135 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.M.)--Bowling Green State University, 2008. / Document formatted into pages; contains 1 score (50 p.) For concert band in four movements: first and fourth movements for full ensemble; second movement for woodwinds/percussion; third movement for brass/percussion. Includes bibliographical references.