Thesis (M.A.)--University of Rochester, 1938. / Typewritten. Bibliography: l. 157-161. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/6856

Thesis (Ph. D.)--University of Iowa, 1942. / Without thesis note. "Sources": p. 202-209. "List of published compositions": p. 210-216.

This dissertation complements those analytical studies which discuss choral works and techniques of contemporary choral composition, by examining what twentieth-century literature was actually performed within one of the choral traditions of the United States.The a cappella choral tradition has spread widely throughout the United States. Previous studies have examined the history of the pioneering a cappella choirs and the biographies of the movement's leaders. This study also complements them in examining another aspect of the a cappella tradition.Three representative choirs were chosen: the Concordia Choir from Moorhead, Minnesota, Paul J. Christiansen, conductor; the Nordic Choir of Luther College from Decorah, Iowa, Weston Noble, conductor; and the St. Olaf Choir from Northfield, Minnesota, Kenneth Jennings, conductor. These choirs were selected because each had a long tradition of touring -- consequently exposing a broader public to the literature they performed, because each choir has been widely acknowledged for performance excellence, and because each has had remarkable continuity in leadership -having only one or two conductors during the thirty-six year span included in this study.The program archives of each choir were examined to determine the twentieth-century literature which had been performed. Three conductors, Paul J. Christiansen, Kenneth Jennings, and Weston Noble, were interviewed with regard to their ideas concerning selection and preparation of twentieth-century choral music.Though each choir was found to have some distinct patterns, there were also several elements in common among the choirs:1. Each took. seriously the relationship between music and text, and the fact that the choirs were representatives of Lutheran colleges.2. Each emphasized the highest possible level of performance in order that the expressive and aesthetic qualities of the music sung would be comprehended by both singers and audience.3. Each has given a prominent place to twentieth-century music by American composers.4. Each has given a comparatively minor role to music by Scandinavian composers.5. Each has repeated certain works several times during the thirty-six years, helping to establish them in the choral repertory.6. Each has performed an approximately constant quantity of twentieth-century music during the thirty-six years, but each has tended to program progressively more challenging works as time goes on. Appendices present listings of the choral literature included in the study, of the repertory for each choir, and of currently available recordings by the three choirs of twentieth-century choral music. / School of Music

This thesis provides a historical account of the career of Miles “Mity” Johnson. Johnson taught music for thirty-seven years at St. Olaf College in Northfield, Minnesota. During those years, he led the St. Olaf Band to national and international prominence. Johnson’s professional influences traverse his work as a collegiate band director, and horn recitalist and teacher, as well as his contributions to professional development for conductors and the adult community band movement. This research draws heavily on archival materials from the Shaw-Olson Center for College History at St. Olaf College along with several personal collections, including Johnson’s own private collection. Oral interviews with family members, colleagues, and former students supplemented archival materials. Johnson’s career spanned the second half of the twentieth century, a period that witnessed important growth in repertoire, professional development, and other areas in the concert band field, and this thesis highlights his reactions and contributions to those changes. Chapters explore Johnson’s family, education, and military background; followed by details of his public school and St. Olaf College teaching career. Examining the areas of domestic and international touring, concert programming, and horn teaching during Johnson’s tenure at St. Olaf reveals significant contributions to the band field. Also included are Johnson’s numerous guest conducting engagements at All-State band performances and the Vestfold Summer music camp in Norway. Research on Johnson’s establishment of the Minnesota Instrumental Conducting Symposium (MICS) and the Minnesota Symphonic Winds (MSW) adult community band, give further insight into Johnson’s broader contributions to the wind band profession.

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