The composition is in two movements played continuously, and requires approximately eleven minutes for performance. The two movements offer different treatment of similar thematic material. Unifying devices are used in each movement. Instrumentation includes the following: piccolo, two flutes, two oboes, two Bb clarinets, F English horn, Bb bass clarinet, two bassoons, two Eb alto saxophones, Bb tenor saxophone, Eb baritone saxophone, two bb trumpets, three F French horns, two trombones, euphonium, tuba, and three percussion.

Boris Kozhevnikov was a preeminent composer for the wind orchestras of the Soviet military. His Third Symphony is well known in the United States, but the rest of his compositions, and most of the Soviet wind band repertoire, remain unstudied and unperformed outside Russia. This document will explain how Soviet composers carried out their musical obligations as dictated by Communist Party mandates. Further, the functionality and prevalence of Soviet military bands will be explored. Finally, Boris Kozhevnikov will be investigated as a composer who wrote for military ensembles while adhering to Party ideals. American editions of two pieces--the Fourth Symphony and March for Ceremonial Passing--have been created as representative examples of Kozhevnikov's contribution to the genre.Socialist Realism is the term used to describe the Soviet government's mandate for "appropriate" music. Composers were expected to write music that was accessible to the masses, contained programmatic inferences, and aroused sentiments of patriotism and nationalistic pride. Rejected were any pieces displaying formalistic tendencies, including non-programmatic, overly chromatic, or atonal works.Three thousand military wind orchestras were performing in the Soviet Union at the end of the Cold War. These ensembles played original Russian and Soviet music, the vast majority of which is unknown outside Russia. Composers such as Dmitri Shostakovich, Nikolai Miaskovsky, and Sergei Prokofiev wrote for the military ensembles, providing marches and programmatic works.Boris Kozhevnikov taught at the Moscow Conservatory and Institute of Military Conductors for over forty years. He was a highly respected professor, composer, and conductor, and received praise from both Miaskovsky and Shostakovich. One of the first composers to write multiple symphonies for band, Kozhevnikov composed over forty pieces for winds, all exhibiting fundamentals of Socialist Realism. Among his techniques were the incorporation of folk, worker, and revolutionary songs; compositions specifically written and titled for commemorative events; and the composition of works for functional purposes, such as marches and ceremonial music. For his efforts, Kozhevnikov was awarded as a Distinguished Artist of the Russian Soviet Federative Socialist Republic, the Red Star, the Red Banner, the Alexandrov Award, and the Order of the Badge of Honor.

Born in 1972, Luis Serrano Alarcón has in a very short period of time, established himself as one of Spain’s most prominent composers. His works are constantly being performed, not only in his home country, but throughout the world. While some of his compositions tend to retain the rhythmic, harmonic, and melodic style typical to Spanish music, many of the works sound as if they were borne more from the Viennese symphonic tradition, both during the time of Haydn and Beethoven, but also during the time of Arnold Schoenberg. As a young boy Alarcón took up piano lessons with a local teacher by the name of Javier Barranco. Through him, Alarcón learned “the music for piano of the great masters of Classicism, Romanticism, and Spanish Nationalism.” In addition he began to study with two other teachers: Jose Cervera Collado and Jose Maria Cervara Lloret. With Collado, Alarcón studied conducting, and with Lloret he studied harmony. As a result of all of this training, Alarcón was drawn toward the symphonic music of the Classical and Romantic periods, especially gravitating toward the music of Beethoven and Brahms. Alarcón’s compositional style has maintained a chameleon-like flexibility as he is able to change styles from one composition to the next with litheness and grace, showing a strong grasp of American jazz as well as flamenco music of his native country in Duende, capturing the sounds of tango from Argentina in Concertango, and of course, in the many examples of his paso dobles. Unlike many of his contemporaries, though, Alarcón’s unique voice seems to emerge through any style he is embracing or any combination of instruments in his orchestration. In terms of style, Symphony for Wind Orchestra (2012) is an entirely different type of composition. It is immediately apparent from the opening tutti strikes, that (like Mozart and many other traditional composers before and after), Alarcón is embracing a iii traditional symphonic style in this composition by utilizing one of its most common symphonic topos. Symphony for Wind Orchestra is an amazing study of the Classical symphony from its earliest beginnings in Mannheim, to its codification at the hands of Haydn, Mozart, and Beethoven, and to its explosion in size and scope at the end of the nineteenth and early twentieth century with composers like Brahms, Bruckner, and Mahler. Perhaps more important, though, is his choice of harmonic language and compositional approach. The work is decidedly based upon thematic material that is reminiscent of the Second Viennese School; atonal at times, semi-tonal at others, but consistently manipulated through the operations (transposition, inversion, retrograde, verticalization, and serialization), that were made popular by Arnold Schoenberg, his students, and those who followed them. The genesis of this composition was a consortium of band directors from the Southeastern Conference Band Association, led initially by Tom Verrier, who is Senior Band Conductor and Director of Wind Ensembles at Vanderbilt University. Dr. John Cody Birdwell was a part of the consortium from its onset, but didn’t initially plan on conducting the premiere at his school (the University of Kentucky). Birdwell stated,“...the opportunity to premiere the work sort of ‘landed in our lap.’ I had heard some of Alarcón’s other compositions in recent years, and I knew that this piece was going to be fantastic, so we moved forward without any hesitation.” Clearly with so much positive feedback regarding the work, this document is certainly justified. The goals of this study are to provide some background for the work and its composer, to analyze the work while providing examples of all of its main themes and important figures, and where appropriate, to show how they relate to each other. This document will also create a helpful performance guide for conductors, which should facilitate and contribute to many more performances of this significant work in the future. Along with the harmonic and thematic analysis of the work, this document will also include interviews with the composer, the conductor of the premiere of the work (Dr. John Cody Birdwell), one of the early and staunch supporters of Alarcón’s works (Dr. Tim Reynish), and Javier Enguidanos Morató - another Spanish conductor who recently performed the work.

There are about 1500 wind bands in Taiwan, which are separated in primary, junior high, senior high school, universities and communities etc. In Taiwan, the population who learn the wind instrument are more than one hundred thousand population, however, there are only five professional orchestras, including National Symphony Orchestra, Taipei Symphony Orchestra, National Taiwan Symphony Orchestra, Kaohsiung City Symphony Orchestra and Evergreen Symphony Orchestra, and no a professional wind band. Therefore, the purpose of this study is to understanding the availability and possibility to fund a Professional Wind Band in Taiwan via evaluating the market of musical performing and the status of audience involvement. The study methods contain conducting interviewing the key person of the wind band and designing a survey with the factors of Human Resource, Financial Plan, and Operation Status.

Arbetets syfte är att identifiera och förstå de utmaningar som ledare för blåsorkestrar på musik- eller kulturskolor upplever, samt hur de går tillväga för att hantera eventuella problem och nå framgång i sin verksamhet. Tidigare forskning visar att dirigenten som person och ledare har stor betydelse för orkesterns utveckling, men att den sociala miljön som bildas i orkestern också påverkar hur orkestern utvecklas och hur orkestermedlemmarna trivs i orkestermiljön. Det betyder att blåsorkestern kan blir en viktig plats dit eleverna går för att träffa sina vänner och ha det trevligt. Studien bygger på kvalitativa semistrukturerade intervjuer med fem musiklärare som arbetar med blåsorkesterverksamhet. Resultatet överensstämmer i stora delar med tidigare forskning som visar att det dirigenten gör före, under och efter repetitionerna spelar roll för orkesterns och orkesterelevernas utveckling. Dessutom visar resultatet i denna studie att den sociala aspekten av att spela i blåsorkester är viktigare än vad som skulle kunna förväntas. I diskussionen lyfts den sociala aspekten fram tillsammans med andra viktiga motivationsfaktorer för elever. / The purpose of the work is to identify and understand the challenges that leaders of wind orchestras at music schools experience, and how they cope with the problems and achieve success in their organization. Previous research shows that the conductor is of great importance for the development of the orchestra, but the social environment is also essential, so that the wind orchestra becomes a place where you pupils can socialize and have a good time. The study is based on qualitative semi-structured interviews of five selected music teachers who works with wind orchestra activities. The result shows much of what the previous research also does, that what the conductor does before, during and after rehearsals affects the progression of the orchestra. In addition, the results show that the social aspect of playing in the wind orchestra is more important than could be expected. In the discussion, the social aspect is highlighted together with other important motivational factors for pupils.

Ce mémoire de maîtrise analyse trois projets développés au courant de mes trois années de maîtrise à l’Université de Montréal en composition instrumentale et vocale, de même que certain outils utilisés pour assurer à chacune de mes créations une continuité et une unité. En plus de l’analyse de trois œuvres orchestrales et chorales, ce mémoire aborde en premier lieu les notions de caractère et son rôle dans un discours uniforme et continu. Il présente ensuite l’usage du motif à des fins d’unités dans chacune de mes œuvres. Il offre enfin des alternatives à la tonalité classique pour assurer un pôle tonal aux œuvres telles le pandiatonisme, les enchainements harmoniques par note commune, l’enrichissement d’enchainements tonaux par la coloration d’accords et la cohabitation de ces différents outils. / This master's thesis analyses three different works, composed during my studies in vocal and instrumental composition at Université de Montréal, and discusses a few of the techniques I have used to assure unity and continuity in my music. In addition to analyzing three orchestral and choral pieces, this thesis first addresses the notion of character, and its role in my music. It also discusses the way I use motives in my composition for purposes of unity. It then offers a few alternatives to classical tonality, which assure tonal attraction in my pieces, such as pandiatonicism, chords progressions by common notes, enrichment of tonal progressions by addition of color notes to chords, and the combined use of these different techniques.

The wind bands in Japan are considered by many scholars and wind band conductors to be among some of the finest ensembles in today's wind ensemble medium. The literature and repertoire of Japanese ensembles have evolved from orchestral transcriptions, patriotic music, and military marches to original compositions by European, American, and Japanese composers. British conductor Timothy Reynish states that Japanese wind band music has looked traditionally towards the United States and occasionally United Kingdom for inspiration and repertoire. This phenomenon can be attributed to the many collegiate American and the few English wind band conductors who traveled to Japan as guest conductors, and in some cases, became residents of Japan. The focus of this study is to closely examine this significant impact of American collegiate wind band conductors, their influence on Japanese programming and how that programming has affected the collegiate repertoire. This study includes surveys of repertoire, concert programs, discographies of recordings, and interviews with prominent American conductors currently conducting in Japan. This research documents the impact that American wind band conductors have had on the programming of Japanese wind bands and how their influence have altered the collegiate repertoire. Evidence of this impact is documented by Toshio Akiyama, who states that "The influence of visiting musicians from abroad must be measured as one of the most influential aspects affecting Japanese band growth. Although the effect of Japanese musicians traveling to the United States or Europe has been beneficial, the overall impact on large numbers of people has been more directly due to the visitors from abroad."

[ES] La revolución estética que ha visto el siglo XX, donde surgieron multitud de propuestas, llegó de forma dispar a las distintas formaciones instrumentales. Mientras la música sinfónica y de cámara vivió un renacer auspiciado por las nuevas técnicas compositivas, la orquesta de vientos quedó estancada en un aparente contexto de tonalidad y modalidad que, lejos de evolucionar a la par que las otras formaciones, ha experimentado un aparente retroceso hacia posturas estéticas más conservadoras. El presente trabajo surge de la necesidad de evolucionar el repertorio actual para orquesta de vientos, profundizando en sus posibilidades tímbricas y desarrollando un repertorio que aborda la composición para orquesta de vientos, desde una perspectiva actual que desarrolle algunas de las corrientes estéticas principales de la vanguardia musical de los siglos XX y XXI. A continuación, se elabora un análisis detallado de los procesos compositivos abordados en cada una de las obras a estudio, sin perder la perspectiva del objetivo fundamental; la composición de dos obras que desarrollen el potencial sonoro de la formación orquestal de vientos y percusión dentro de un estilo contemporáneo. Previamente, se exponen algunas de las aportaciones más importantes al género realizadas por distintos compositores, que han supuesto una vinculación real y significativa de las nuevas propuestas compositivas de los siglos XX y XXI con la formación de vientos en su concreción orquestal o de gran ensemble. Se destacan especialmente aquellas propuestas de autores relacionados estrechamente con el repertorio de vientos, especialmente en su vertiente bandística. Paralelamente se referencian otros trabajos de autores significativos dentro del repertorio orquestal y camerístico, que han realizado contribuciones esporádicas a la orquesta/ensemble de vientos. Contribuciones que por su originalidad o estilo enmarcado en las corrientes estéticas compositivas de los siglos XX y XXI, implican un hecho destacado para el género de vientos y percusión. / [EN] The aesthetic revolution that the twentieth century has seen, where a multitude of proposals arose, reached the different instrumental groups in a disparate way. While symphonic and chamber music lived a rebirth sponsored by new compositional techniques, the wind orchestra was stuck in an apparent context of tonality and modality that, far from evolving at the same time as the other formations, has experienced an apparent retreat towards postures more conservative aesthetics. The present work arises from the need to evolve the current repertoire for wind orchestra, deepening its timbral possibilities and developing a repertoire that addresses composition for wind orchestra, from a current perspective that develops some of the main aesthetic currents of the avant-garde musical of the twentieth and twenty-first centuries. Next, a detailed analysis of the compositional processes addressed in each of the works under study is elaborated, without losing the perspective of the fundamental objective; the composition of two works that develop the sound potential of the orchestral wind and percussion formation within a contemporary style. Previously, some of the most important contributions to the genre made by different composers are exposed, which have meant a real and significant connection of the new compositional proposals of the 20th and 21st centuries with the formation of winds in their orchestral or large ensemble concretion. Especially noteworthy are those proposals by authors closely related to the wind repertoire, especially in its band aspect. At the same time, other works by significant authors within the orchestral and chamber repertoire are referenced, who have made sporadic contributions to the wind orchestra / ensemble. Contributions that for their originality or style framed in the aesthetic compositional currents of the XX and XXI, imply an outstanding fact for the wind and percussion genre. / [CA] La revolució estetica que ha vist el segle XX, on van sorgir multitud de propostes, va arribar de manera dispar a les diferents formacions instrumentals. Mentre la música simfonica i de cambra va viure un renaixement afavorit per les noves tecniques compositives, l'orquestra de vents va quedar estancada en un aparent context de tonalitat i modalitat que, lluny d'evolucionar al mateix temps que les altres formacions, ha experimentat un aparent retrocés cap a postures estetiques més conservadores. El present treball sorgeix de la necessitat d'evolucionar el repertori actual per a orquestra de vents, aprofundint en les seves possibilitats tímbriques i desenvolupant un repertori que aborda la composició per a orquestra de vents, des d'una perspectiva actual que desenvolupi alguns dels corrents estetiques principals de l'avantguarda musical dels segles XX i XXI. A continuació, s'elabora una analisi detallada dels processos compositius abordats en cadascuna de les obres a estudi, sense perdre la perspectiva de l'objectiu fonamental; la composició de dues obres que desenvolupin el potencial sonor de la formació orquestral de vents i percussió dins d'un estil contemporani. Previament, s'exposen algunes de les aportacions més importants al genere realitzades per diferents compositors, que han suposat una vinculació real i significativa de les noves propostes compositives dels segles XX i XXI amb la formació de vents en la seva concreció orquestral o de gran ensemble. Es destaquen especialment aquelles propostes d'autors relacionats estretament amb el repertori de vents, especialment en la seva vessant bandística. Paral · lelament es referencien altres treballs d'autors significatius dins del repertori orquestral i de cambra, que han realitzat contribucions esporadiques a l'orquestra / ensemble de vents. Contribucions que per la seva originalitat o estil emmarcat en els corrents estetics compositives dels XX i XXI, impliquen un fet destacat per al genere de vents i percussió. / Fayos Jordán, JM. (2022). La orquesta de vientos como medio de aplicación y desarrollo de las técnicas compositivas actuales. Una propuesta performativa [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/183185