Evidence of bands at South Dakota State University can be found as early as 1886, only the second year of classes at the Land-Grant institution. From this grew what is known today as the “Pride of the Dakotas Marching Band.” The band was led by six different men over the first twenty-one years of its existence. A highlight of these early years was a trip to the 1904 World’s Fair in St. Louis, Missouri, under the direction of John Parmalee Mann. His successor, Francis J. Haynes, penned the music to the school’s alma mater, the Yellow and the Blue. In 1911, Carl “Christy” Christensen became Director of Bands, and did not relinquish the title for forty-three years. The highlight of “Christy’s” illustrious career was a trip to Winnipeg, Manitoba, Canada in 1939, in which the band performed for King George VI and Queen Consort Elizabeth. The band has carried on a rich tradition of high-profile performances. In 1962, the band, under the direction of Dr. Warren Hatfield, began a relationship with the National Football League’s Minnesota Vikings. For over twenty years, the band performed at their games, and many of these performances were broadcast to a national television audience. Under the leadership of John Colson and Gene Pollart, the band continued to grow and become known for their high-energy, entertaining, and skillful performances. Because of this reputation, the band, under the direction of Dr. Darwin Walker, earned an invitation to the 1981 Inaugural Parade of President Ronald Reagan. James McKinney led the band to the 1997 Inaugural Parade of President William Clinton, the 2000 Fourth of July Parade in Washington, D.C., and the 2003 and 2008 Tournament of Rose Parades. Since McKinney’s retirement, Eric Peterson, James Coull, and Kevin Kessler have each served as the director of the Pride. This document chronicles the history of the band from its origins to 2015.

abstract: This study examined the forty-five year history of a rural band program in Coolidge, Arizona from 1935–1980. Research questions included investigation into the band’s place in the diverse populations with whom they interacted, the stakeholders, and support from the community. Circumstances of the creation of the town, the high school and band, the stakeholders involved in those processes, the ensembles (including learning and teaching), and outside influences such as national level music policies, ecological, and socio-political events were a necessary part of the study. High school yearbooks, student-written newspapers, and local newspapers were consulted for the bulk of the primary-source data. Other sources were also used to corroborate biographical information about band directors, administrators, and influencers outside of Coolidge High School. The most significant finding was that over the forty-five years investigated, the unwavering community support sustained a strong music program in the rural town, even though teacher turnover was high. Publicly demonstrating learning and teaching, the Coolidge High School Band program engaged the local community with numerous performances, drew positive attention from state-level community, and was recognized outside of Arizona at least once regionally. The local community demonstrated tremendous support for the band program over the years, including constant communication in the newspapers, attendance at performances, providing of scholarships, and approval of various bond elections to improve facilities that would be used by the band. More research is recommended on rural music programs and community engagement. / Dissertation/Thesis / Doctoral Dissertation Music Education 2019

The purpose of this study is to trace the development of the concert band from its earliest stages to the present time and to compile a list of original compositions for band that are worthy of serious concert performance, including compositions from 1750 until the present.