The brass band and wind band had similar repertoires in the nineteenth and early twentieth centuries with marches, dances, solos, and transcriptions written prominently for both ensembles. The repertoires diverged at the beginning of the twentieth century as brass band contests commissioned new and original works and international composers began writing serious works for wind band. In the 1970s, British composer Philip Sparke succeeded in writing music for both ensembles and subsequently began to create a shared repertoire, and other composers started contributing to this repertoire. As this repertoire has proliferated, much of it has become worthy of serious study. The purpose of the current study is to find shared scoring tendencies between three transcriptions: one written by the original composer; a second transcribed by a different composer; and a third transcribed by both the original composer and a different composer. The works selected were The Year of the Dragon by Philip Sparke (transcribed by the composer), Variations for Brass Band by Ralph Vaughan Williams (transcribed by Donald Hunsberger), and Call of the Cossacks by Peter Graham (transcribed by the composer and Mick Dowrick). There were several effective instrumentation choices the works shared, including woodwind prominence in solo and lyrical passages, double reeds substituting for small brass ensembles, and high woodwinds written one or more octaves above the original. Adapting these choices, the author created a transcription of Gypsy Dream, the second movement of Call of the Cossacks. Further, these commonalities can serve as guidelines for other transcribers to arrange brass band works for wind band and expand this shared repertoire.

Master of Music / Music, Theatre, and Dance / Steve Maxwell / This master’s report focuses on the history, brief analysis, and pedagogy of the four works performed on February 15, 2016 for the author’s Master’s Recital. The first chapter explains the work Pantomime by Philip Sparke. It contains a short biography of Philip Sparke, an in-depth background on the composition of the work, and a theoretical and pedagogical look at the piece. The second chapter centers on Fantasia by Gordon Jacob. This brief biography will explore Jacob’s compositional output and legacy, and the theoretical analysis will focus on his use of chromatics and the interplay between the piano and the euphonium. The pedagogical analysis will focus on performance techniques and practice. The third chapter is devoted to Blue Lake Fantasies, an unaccompanied work for solo euphonium by David Gillingham. The biography will focus on Gillingham’s contribution to euphonium repertoire, specifically and the history of where and why this work was written. There will be a concise theoretical analysis followed by a heavily pedagogical analysis, which will break down the performance techniques used in each of the five movements. The final chapter of the report is about David Werden’s euphonium arrangement for two euphoniums and piano of Believe Me If All Those Endearing Young Charms by Simone Mantia. This chapter will present a short biography of Mantia explaining his historical significance, a brief theoretical analysis, and a pedagogical analysis that focuses on the duet aspect of this piece.