No description available.

Pulitzer Prize-winning composer David Del Tredici (b. 1937) has gained recognition as a composer for both instrumental and vocal settings. Although his instrumental contributions include solo, chamber, and orchestral works, to date he has only written one composition for wind band. A conductor must devote himself / herself to score study and analysis in order to form an accurate interpretation and to conduct effective rehearsals. A vital part of score study and analysis is familiarity with the composer’s technique and style of writing. A brief biographical sketch presents Del Tredici’s background, education, honors and awards, academic career, and influences, as well as a discussion of his compositional and orchestration techniques. Both movements of In Wartime are analyzed using the elements of melody, harmony, form, rhythm (which includes tempo, meter, rhythm, and rhythmic techniques), orchestration, texture, and dynamics. Rehearsal considerations for each movement are presented based on the author’s experience rehearsing and conducting In Wartime. The intention of this document is to facilitate conductors in their study and preparation of In Wartime in order that they may realize more effective rehearsals and inspired performances. Included in the appendices are trumpet parts transposed to the key of B-flat and instructions for the construction of the wind machine indicated in the score.

I denna uppsats undersöks hur några musiklärare går tillväga för att bygga en fungerande blåsorkesterverksamhet i de musik- och kulturskolor de är verksamma. Vad lärarna anser om planering, vilka mål de har med verksamheten samt hur de arbetar för att uppnå sina mål är frågor som besvaras i uppsatsen. Resultaten diskuteras med utgångspunkt i teorier om samspel och ledarskap. Datamaterialet består av intervjuer med fyra musiklärare på tre olika musik-/kulturskolor. Två av skolorna finns i Sverige och en i Norge. Två av lärarna arbetar på samma skola. I resultatet visas att arbetsmetoderna för planeringen verkar vara snarlika på de fyra skolorna. Lärarna anser att det krävs bra material och kunskap om det material som används, samt ordning och reda på repetitionerna. Skapa spelglädje och en mysig miljö är något som prioriteras högt hos samtliga lärare. Målsättningarna hos de respektive lärarna beror till stor del på vilka resurser som finns och vilka kunskaper eleverna har nått från år till år. Målsättningar på de respektive musik- och kulturskolorna finns inte, utan det är upp till varje ledare/dirigent att själva bestämma målen. Gemensamt för skolorna är planering av jul- och sommarkonserter samt att konkurrensen med idrotten alltid är något de får arbeta mot. När det gäller de intervjuades förhållningssätt i arbetet, är det ett situationsanpassat förhållningssätt det till sist handlar om för att ta sig mot målet. / This thesis purports to examine how different music teachers work in establishing a functioning wind ensemble at music and culture schools they teach at. How they view the planning process, their work goals, and how they strive to achieve their goals, are questions that are answered in the paper. The results are then discussed on the basis of theories of interaction and leadership. The data consists of interviews with four music teachers at three different schools of music / arts. Two of the schools are located in Sweden and one in Norway. Two of the teachers work at the same school. The results demonstrate that the planning is similar at the four schools. The teachers believe that good material and knowledge of the material being used, is required, in addition to discipline at the rehearsals to achieve good results. To create an enjoyful and relaxing environment is prioritized by all the teachers. The goal of the teachers depends largely on the material resources they have, and what knowledge the students have achieved from the previous year. Particular objectives at each respective music and culture school do not exist: this is up to each leader / conductor to decide each case. Common to all schools is the planning of Christmas and summer concerts at the end of every semester, as well as the conflict with sports, which is always something they must deal with. As for the interviewees and their approach to their work, the strategy in achieving the goal is based on each particular situation.

John Harbison's Olympic Dances was composed in 1996 and premiered in February 1997. The work was written as a piano score before it was orchestrated for a wind ensemble of 25 winds and two percussionists.The first section of the paper focuses on the various influences that have affected Harbison's compositional style. The composer's educational background includes several prominent teachers whose instruction had great impressions. Special emphasis is placed on those characteristics of Harbison's style that are most prominent in the work with which this paper is concerned, Olympic Dances. Olympic Dances was commissioned by the College Band Directors National Association and premiered at the CBDNA Twenty-ninth National Conference in Athens, Georgia, in a collaborative performance of the University of North Texas Wind Symphony and Pilobolus Dance Theatre. The second part of the paper presents an historical overview of CBDNA commissioning projects along with a summary of the genesis of the commissioning of Olympic Dances. The primary focus of the study appears in the third section of the paper. An analysis of the four movements of Olympic Dances is presented with attention to the objective elements of harmonic and melodic structures along with a focus on orchestration and scoring. This section considers the composer's thoughts on aesthetic concerns, suggested through his written program notes, and elucidated by way of an interview with the author. Special performance concerns related to rehearsal and conducting conclude this chapter. The paper also includes a transcription of the author's interview with John Harbison, a bibliography and a select discography of recent recordings of his works that are currently available.

Mass is written for large mixed choruswind ensemble consisting of woodwind quartet (flute, oboe, Bb clarinet, and bassoon), brass quintet (two Bb trumpets, F horn, trombone, bass trombone), and recorded digital synthesizer. This setting of the Ordinary is in Latin and includes the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The duration of the work is approximately twenty-seven minutes.

Digitized by Kansas Correctional Industries

Lake Pleasant, a work for wind ensemble, receives its title from the composer’s memories of visiting a cottage on a small lake that straddles the border of Indiana and Michigan. The primary influence of the piece derives from the howling sound produced by the echoes of traffic noise one hears while standing on the opposite side of the lake in the quiet of night. The recollection of this soundscape takes the musical form of nine clarinets spread throughout the audience accompanied by pairs of flutes, oboes, saxophones, trumpets, and a single piccolo. While the placement of performers in the audience allows for the music to emulate the atmosphere evoked by the work’s influence through the use of physical space and timbral similarities, the spacial relationships explored through the music also serve as primary structural elements.

abstract: Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice/narrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers. There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000. The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Paul Dooley’s composition, Masks and Machines (2015), is a significant new work for wind ensemble and was the winner of the National Band Association’s William D. Revelli Memorial Band Composition Contest award and the American Bandmasters Association’s Sousa/ABA/Ostwald Composition Contest. Masks and Machines has received positive critical acclaim and numerous performances, including a performance at the 2015 Midwest Band and Orchestra Clinic in Chicago, Illinois by the North Texas Wind Ensemble under the direction of Eugene Corporon and a performance at the 2016 American Bandmasters Association Conference in Lexington, Kentucky by the United States Marine Corps Band under the direction of Jason K. Fettig. The purposes of this dissertation are 1) to place Masks and Machines in its historical perspective within the history of wind band compositions; 2) to provide an overview of the artistic styles that influenced the composer, such as Stravinsky’s Neoclassical works, Bauhaus Art, and Fortspinnung; 3) to elaborate on the musical traits and characteristics of Masks and Machines via formal analysis; and 4) to offer a guide to rehearsal and performance of the work. The Introduction discusses Masks and Machines in its historical context as a highly acclaimed wind ensemble composition within the canon of twentieth century wind band works. Chapter 1 includes a detailed biography of Paul Dooley. Chapter 2 discusses the visual art and musical influences on Paul Dooley and how these influences come to life in his wind band compositions. Chapter 3 is an analysis of Masks and Machines with thematic excerpts and discussions on form, instrumentation, orchestration, and compositional techniques. Chapter 4 provides a rehearsal and performance guide aimed to facilitate a successful performance of Masks and Machines. Chapter 5 includes a transcription of two interviews with the composer and focuses primarily on compositional influences, processes, and techniques regarding Masks and Machines and other wind band compositions by Dooley, such as Point Blank (2012), Meditation at Lagunitas (2014), and Mavericks (2016).

John Mackey’s Wine-Dark Sea: Symphony for Band(2014) is a work of epic proportions and was the winner of the William D. Revelli Composition Contest of the National Band Association in 2015. Wine-Dark Sea: Symphony for Bandhas received much acclaim and many performances including a recording by the University of Texas Wind Ensemble in 2016. The purposes of this dissertation are 1) to provide historical information on the genesis of the work through interviews with its composer, John Mackey, and commissioning director, Jerry Junkin; 2) to provide an analysis of how the programmatic elements of Homer’s Odysseyinteract with the musical aspects of the work. The first chapter discusses biographical information essential to the understanding of John Mackey’s music. Chapter two includes information specific to the creation of Wine-Dark Sea: Symphony for Band. Chapters three through five provide analytical information alongside programmatic information to provide a clear understanding of how the music and programmatic elements combine to create the work. Chapter six concludes the document with some performance suggestions for the conductor. An appendix of information including graphs of how dynamic range corresponds to programmatic elements and interviews with the composer, John Mackey, and the commissioner, Jerry Junkin, are also provided.