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.

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The purpose of this study was to determine selected scoring techniques of eighteen mainstream wind-band composers from John Philip Sousa to the present. The men were surveys conducted from 1950 through 1985. A master list of 576 wind-band composers was reduced to eighteen, following the criterion of three hundred or more recommendations of their individual works and a limitation that each composer had written at least three original wind-band compositions to qualify as an influential mainstream composer of that genre. selected by a synthesized preferential list of twenty-fiveData were gathered upon a comparative measurement of time, dividing each composition into the smallest common each instrument part in melodic, countermelodic, harmonic, bass-line, doubling, dynamics and solo material. Each composer was introduced in a brief biography, and the formal structure of his work was overviewed, followed by a review of the work as scored. Detailed analysis was made of score instrumentation, individual instrument usage, ranges anddenominator to determine performance percentages, assessing tessituras, choir and family grouping and voice usage, score density and texture, doubling practices and scoring of expression marks. Individual composition and comparative summaries were made.General conclusions drawn from the study were: (1) Compositions within three groupings, March King, English tradition, and American school band composers contains scoring similarities. American professional compositions differed among themselves and from the first three groupings.(2) Professional march composers scored heavily doubled melodies, parallel harmonic parts, counter melodies, vertical accompaniment parts and bass lines contrasted by high-low voices and woodwind-brass voices. Powerful middle ranges and tessituras with upper woodwinds produce brightness to the woodwind sonority. Accented passages were contrasted for relief from traditional loud block dynamic levels. (3) English tradition composers scored a more mellow sound against bright timbred trumpets and trombones. Modal melodies were scored in vertical and horizontal harmonies, with light voice densities. (4) American school band composers featured the clarinet section, with supporting, contrasting brasses. Scoring in middle ranges, cross-cueing with heavy doubling, thick voice densities and loud volume markings are abundant. (5) American professional tradition composers wrote in fragmented melodies over ostinatic patterns. Dissonance is contrasted with high/low tonal registers. Novel instrument combinations produce interesting timbres. Instrument parts become soloistic and orchestral. Ranges and tessituras are wider and contemporary special effects are used effectively. Representative works from different eras of wind-band composition provide great variety.

Master of Music / Department of Music / Frank Tracz / The following report is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of James D. Rogers. The recital, performed by the Mission Valley High School Band, was held in the gymnasium of Mission Valley Schools USD #330 on May 4, 2013 at 7:00 p.m. Pieces of music performed were Firework Music by George Frederick Handel and arranged by Phillip Gordon, Portrait of a Clown by Frank Ticheli, A Childhood Hymn by David Holsinger, and Citadel: Concert March by Frank Erickson. In addition to the analysis of the mentioned music, this document also contains rehearsal plans used in the preparation of the music for performance.

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A work of fiction in which, much to the dismay of her band director father, a 13 year old girl is fired from her acolyting position.

<p>The aim of this study is to have a deeper understanding about the motivations and the obstacles of an immigrant’s language learning. I have studied the problem with focus on integration and language learning. The study is principally based on deep interviews with Turkish immigrants. I have studied the question by means of a socio-cultural perspective of learning; Mead’s conceptions I, Me and the generalised other; Scheff’s conception, the social bonds and Freire’s conception, dialog and Asplund’s conception social responsiveness. </p><p> On the surface it seams like, the émigré is someone who is incapable or reluctant to learn Swedish and integrate in the society. During the study, I have discovered an emotional obstacle, which arises at the émigré’s meeting with the Swede. One usually bypasses this emotional obstacle and concentrates on the cognitive level for language learning. The emigrant thinks then the Swedish language is difficult to learn and she knows too little Swedish to communicate with the Swede. The Swede thinks that the immigrant does not want to learn Swedish and integrate in the society. When I focused on the immigrant’s subjective experience about the meeting with the Swede, I noticed that the emigrant experiences the meeting as a sort of one way communication. At this meeting, she is assessed negatively by the Swede. The immigrant finds it difficult to develop a positive emotional attitude towards the Swede and the Swedish language. Then she gets away from the meeting with the Swede and reduces her relations with the Swedish culture to a minimum level. </p><p> I have speculated on the immigrant’s negative experience by means of Asplund’s conception social responsiveness and a governmental report of investigation about segregation. For a more active language learning and integration, I proposed, that the language education (SFI) should encourage the emigrant to question society with a critical attitude to identify herself in the new situation and the society. This can be achieved by means of a dialogical perspective, which presupposes and develops a strong trust in the human being, love, humility, solidarity, respect and the critical thought.</p>

Thesis (M.S.)--Oregon State University, 1968. / Typescript (photocopy). Includes bibliographical references (leaves 52-54). Also available on the World Wide Web.