This study closely examines the orchestrational techniques in four of Percy Grainger's wind band compositions; Colonial Song, Irish Tune From County Perry, Molly On The Shore, and five movements from Lincolnshire Posy; Lisbon, Horkstow Grange, The Brisk Young Sailor, and The Lost Lady Found. These are works which are representative of Grainger' s orchestrational techniques. This information has been used to newly orchestrate three of Grainger's pieces for band in his orchestrational style. They are The Cutting of the Hay, Lord Maxwell's Goodnight, and British Waterside (or The Jolly Sailor). It is interesting to note that all but one of these band works (Horkstow Grange) are orchestrations of previously completed compositions. Presumably, Grainger's attention would have been focused on matters of scoring only when writing for band. In analyzing Grainger's orchestrational techniques in these pieces, I have not made any value judgments as to their success. I have also been very careful not to compare these techniques to any other composer. Rather, I have done an exhaustive survey of recurring orchestrational techniques in an attempt to understand why his wind band music sounds the way it does. Chapter I identifies and codifies Grainger's scoring of melodic material. Similarly, Chapter II deals with countermelodic material. Chapter III examines recurring features in Grainger's part writing. Chapter IV documents his preoccupation with contrapuntal dynamic techniques. There is no debate that Grainger made an original contribution to the wind band literature. This study has explored in depth Grainger's orchestrational techniques in an attempt to show specifically why his wind band music is so readily identifiable as Grainger. It is my assertion that the Grainger 'sound' is a function of recurring orchestrational techniques rather than other compositional elements such as melody or harmony. His consistent choice of doublings for both melody and countermelody place a personal stamp upon his music. His continual use of contrapuntal dynamics to achieve timbrel effects also renders his music distinguishable as being only by Grainger. His part writing proves always to be uniquely satisfying because of the constant voice shifting and meandering parts.

Thesis (M.M.)--University of Michigan, 1955.

Thesis (M.M.)--University of Michigan, 1955.

Thesis (MMus) -- Stellenbosch University, 2010. / The wind band is a far underused composition medium in South Africa. Partially, this is due to the stereotypical view towards the ensemble and unfamiliarity with dealing with the heterogeneous timbral pallet. The author aimed to demonstrate the ensemble’s capabilities through a systematic orchestration process. The result of this dissertation is an orchestration of a large-scale work, From the Poets, for wind band. This creative research resulted in a systematic critical investigation of instrumental idiosyncrasies, balance, conventions of notation and timbre combinations found in the wind band. Furthermore, the author scrutinised the benefits and shortcomings of the aforementioned systematic process. Concluding that, through a methodical process, an orchestrator achieves a thorough understanding of the original text and can thus translate without fear of making unfavourable musical decisions. However, as this was a two-year process, the method might not work in the time constraints presented in real world situations, such as the music industry for instance. The author provides possible adaptations to the method in order to cope with the above-mentioned time constraints. / Die blaasorkes is ʼn vêr-onderbenutte medium vir komposisie in Suid-Afrika, deels as gevolg van die stereotipiese siening oor die ensemble en 'n gebrekkige kennis in die hantering van die orkes se heterogene toonkleur palet. Die skrywer het hom beywer om die ensemble se vermoëns te demonstreer deur middel van 'n stelselmatige orkestrasieproses. Die resultaat van hierdie skripsie is 'n orkestrasie van 'n grootskaalse werk, From the Poets, vir blaasorkes. Hierdie kreatiewe navorsing het gelei tot 'n sistematiese kritiese ondersoek met betrekking tot instrumentale eienaardighede, balans, konvensies van notasie en toonkleur kombinasies wat ʼn blaasorkes bied. Verder het die skrywer die voordele en tekortkominge van die bogenoemde proses ondersoek. Die gevolgtrekking is dat, by wyse van, 'n metodiese proses, 'n orkestrator 'n deeglike begrip van die oorspronklike teks kan bereik en dus die materiaal vertaal sonder vrees om ongunstige musikale besluite te maak. Aangesien die navorsing 'n tweejaarlange proses behels het, glo die skrywer dat hierdie metode moontlik ontoereikend mag wees gegewe die tydsbeperkinge wat dikwels deur die musiekindustrie opgelê word. Derhalwe bied die skrywer ook moontlike aanpassings tot sy metode om die bogenoemde tydsbeperkings te akkommodeer.

Thesis (M.M.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (M.A.)--Ohio State University, 1950. / Includes bibliographical references (leaf 78). Available online via OhioLINK's ETD Center.

Thesis (D.M.A.)--University of North Texas, 2001. / Accompanied by recitals, recorded Nov. 14, 1994, Nov. 20, 1995 and Nov. 23, 1999. Includes bibliographical references (p. 115-117) and discography (p. 118-119).

Thesis (M.M.)--University of Wisconsin--Madison, 1958. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references ([9] leaves at end).

Thesis (M.A.)--Ohio State University, 1985. / Includes bibliographical references (leaves 95-98). Available online via OhioLINK's ETD Center.

Thesis (M.M.)--Missouri State University, 2008. / "December 2008." Instrumentation: piccolo, flute 1 and 2, oboe 1 and 2, bassoon 1 and 2, clarinet 1, 2 and 3, bass clarinet, alto sax 1 and 2, tenor sax, baritone sax, trumpet 1, 2 and 3, horn 1, 2, 3, and 4, trombone 1 and 2, bass trombone, euphonium, tuba, timpani, chimes, mallets, vibraphone, percussion 1, 2, and 3. Includes bibliographical references (leaves 58-59). Also available online.