test 3

Test 3 

• Fennell and the creation of the Wind Ensemble 

• Frederick Fennell 

• 1914-2004  

• Played percussion and was drum major in high school  

• Attended Eastman School of Music BM (1937) and MM (1939)  

•  As an undergrad, conducted Eastman Symphonic Band and led the University of Rochester Marching Band  

• Eastman faculty (1939-1962)  

• 1942 and 1948: Conducting fellow at Tanglewood first with Bernstein and later with Koussevitzky  

• 1954: Published Time and the Winds  

• Conductor in Residence at University of Miami (1965-1980)  

• 1975-1984: Published The Instrumentalist articles “Basic Band Repertory”  

• Conductor: Tokyo Kosei Wind Orchestra (1984-1995) 

• Wind Ensemble Concept 

• One of the most important steps in advancing wind bands as a serious and distinctive medium of artistic merit  

• Fennell revealed the wind ensemble concept in winter of 1952  

• First called Eastman Symphonic Wind Ensemble  

• Had a meeting of Howard Hanson’s back porch.  

• The way to get more people into Wind Ensemble is to have more colors  

• Idea resulted from a concert, organized my Fennell, of Stravinsky’s Symphonies of Wind Instruments (Feb. 5, 1951)\ 

• Why the wind ensemble? 

• To create a sound resource available to composers writing for the medium, flexible so that the composer can decide the exact number of players on each part  

• Allow the wind conductor to select music from a wider body of literature from the 16th to 20th century  

• Allow performers more opportunities for solo and chamber style playing 

• Eastman Wind Ensemble Instrumentation 

• Woodwinds (22) 

• 2 fl, pc, 2 ob, Ehn, 1 EbCl, 8 Bb clar, acl, bscl, 2bn, cbn, 2asx, tsx, bsx 

• Brass 

• 3cor, 2tr, 4hn, 3tb, 2eu, 2 tu 

• Percussion 

• 5 

• String bass 

• Keyboards (piano, organ, cleste 

• Reasons W.E. didn’t take off 

• Logistics 

• Tradition 

• Knowledge of Chamber Winds 

• Inspiration by leaving kids out 

• Art vs Pedogogy 

• Programming 

• Performed Original wind literature almost exclusively 

• 1/3 WW, 1/3 Brass, 1/3 Full ensemble 

• 1952, Fennel sent letters to composers letting them know his in tentions 

• First Concert 

• Mozart Serendae no 10 

• Reigger, Nonet for Brass 

• Hindemith, Symphony for band  

• Eastman – Mercury Recording Project 

• First Wind Band to be featured on a major recording label 

• Began in 1953  

• Recorded 23 albums  

• Paid students for their efforts and sold the product in stores  

• Impact  

• Raised awareness for wind ensemble concept  

• Exposed conductors to new literature for band   

• Elevated performance standards for bands 

• Eastman Wind Ensemble Conductors 

• Frederick Fennell (1952-1962)  

• Clyde Roller (1962-1964)  

• Donald Hunsberger (1965-2002)  

• Mark Scatterday (2002-Present) 

• H. (Herbert) Owen Reed 

• 1910-2014  

• Bachelors and Masters degrees from LSU  

• Ph.D. in composition from Eastman  

• Studied with Howard Hanson and Bernard Rogers 

• Joined faculty at Michigan State in 1939 and served until retirement in 1976  

• Studied contemporary music with Aaron Copland and Leonard Bernstein at Tanglewood in 1942  

• 1948-49: Spent 6 months in Mexico studying folk music  

• Taught David Gillingham and David Maslanka  

• Published 8 texts on composition and theory 

• Notable Works for Winds  

• 1949: La Fiesta Mexicana (Gr. 5-6)  

• 1951: Missouri Shindig (Gr. 4)  

• 1957: Renascence (Gr. 4-5)  

• 1971: For the Unfortunate (Gr. 6) 

• Walter Piston Bio 

• 1894-1976  

• Served US Navy in WWI and played saxophone in service band  

• Attended Harvard after the war and studied theory and composition 

• Then studied with Nadia Boulanger and Paul Dukas in Paris (1924)  

• After return to US, appointed to Harvard music faculty (1926-1960) – taught Elliot Carter and Leonard Bernstein  

• Composed for orchestra, chamber music, and solo instruments  

• Won the Pulitzer Prize twice (1948 for Sym. 3 and 1961 for Sym. 7)  

• Famous for his music theory texts:  

• Harmony (1941), Counterpoint (1947), Orchestration (1955) 

• Piston: Turnbridge Fair 

• Commissioned by Goldman and the League of Composers in 1950  

• Premiered June 16, 1950 by the Goldman Band with Piston conducting  

• Piston’s only original work for band  

• Tunbridge World’s Fair is a large agricultural fair in Vermont started in 1867  

• Elements  

• Melody: combines playful, hocket-like theme with lyrical, flowing theme  

• Harmony: extended tertian, mostly consonant n Rhythm: Jazz rhythms, substantial syncopation, ties over barline  

• Texture: Contrapuntal in nature  

• Form: ABABA (contrasts the interaction of the crowd with evening dancing at the fair) 

• Paul Hindemtih 

• Born in Hanau, Germany  

• Son of an artisan and maid – his father was as strict disciplinarian  

• Began violin study at age 12 at Hoch Conservatory – became a gifted performer  

• 1916: Became concertmaster of Frankfurt Opera Orchestra  

• 1917: Served German Military in WWI, including as bass drum player in a regiment band  

• 1921: Returned to violin performance 

• 1923: Organizer of Donaueschingen Festival  

• 1927: Professor at Berlin Academy  

• 1936: His music banned by Nazis  

• Immigrated to Turkey, Switzerland, and then US (1937)  

• 1940: Became Professor at Yale  

• Became US citizen in 1946  

• 1953: Moved to Zurich and taught at the university until 1957 

• Hindemith Major Works 

• 1926: Konzertmusic for Blasorchester (Gr. 6) 

• 1943/1972: Symphonic Metamorphosis arr. Wilson (Gr. 6) 

• 1951: Symphony in B-flat (Gr. 6) 

• Hindemith Symphony in B-Flat 

• 1951: Commissioned by the US Army Band and premiered in Washington D.C  

• Elements  

• Form: 3 movements (17:00), cyclic forms  

• Mov. I Sonata Form (themes juxtaposed in recapitulation)   

• Mov. II Ternary (slow theme, scherzo theme, juxtaposition of the two)  

• Mov. III Double Fugue (ends with juxtaposition of fugue themes plus restatement of 1st movement theme)  

• Melody: extensive motivic development, lyrical and martial in nature  

• Harmony: diatonic with chromaticism, hierarchy of keys and pitches, frequent modulation  

• Rhythm: hemiola, complex rhythmic structures  

• Orchestration: explores solo, chamber, and full scoring possibilities of the band; idiomatic writing 

• Second Viennese School: Schoenberg, Vaber, bare 

• Fort: Theorist with 

• William Schumann 

• 1910-1992 (born and died in New York City)  

• Didn’t pursue music seriously until his 20s.  

• Studied at Malkin Conservatory in New York, Teachers College Columbia University, and Mozarteum Academy Salzburg  

• Music Instructor at Sarah Lawrence College and later President of Juilliard School (1945)  

• President of Lincoln Center for the Performing Arts (1961)  

• Won the first Pulitzer Price for Music (A Free Song)  

• Composed an opera, 8 symphonies, concertos, choral works, band works, and chamber music 

• Notable Wind Works  

• 1941: Newsreel, In 5 Shots (Gr. 4)  

• 1950: George Washington Bridge (Gr. 5)  

• 1956: New England Triptych (Gr. 5)  

• 1981: American Hymn (Gr. 5) 

• Geroge Washington Bridge 

• Composed in 1950   

• Commissioned by Michigan School Band and Orchestra Association and premiered by Michigan All- State Band  

• 1 movement – 9 minutes  

• Elements  

•  Melody: distinguishable, but not the primary element, use of common melodic intervals (2nd, 4th, 7th)  

• Harmony: no key signature, highly chromatic, tonal shifts, extended tertian, polytonal, polychordal, modal mixture, pandiatonicism, oblique interval expansion  

• Rhythm: augmentation and diminution, 16th note variations  

• Texture: blocks of sound, concerned with proportions, almost all homophonic  

• Form: ternary design, perfect symmetry 

• Theory Questions 

• Tertiary vs Polychord 

• The voicing determines which one we hve.  

• Modal Mixture 

• Using major and minor chords 

• Pan Diatonsism 

• Based on a major scale but all tones are equal, none traditional harmonies 

• Oblique interval expansion 

• Moving intervals not based on harmonie 

Building the Repertoire 

• Morton Gould Biograph 

•  1913-1996 

•  Child prodigy, first published composition at age 6 

• Played piano for vaudeville shows and movies after high 
  school 

• Staff pianist of Radio City Music Hall when it opened (1931) 

• At 21 (1934), became conductor and arranger for his own 
  weekly radio program – composed works for orchestra 

• President of ASCAP (1986) 

• Because of negative experiences as a youth, hated band 
  music until 1945 when he had a series of conducting 
  engagements with the University of Michigan Band 

• Afterwards, became a champion of band music and a 
  regular at ABA, TBA, and Midwest conventions 

• 1995 – won the Pulitzer Prize for String Music 

• Morton Gould Works for Winds (47) 

• 1941: Jericho Rhapsody (Gr. 5) 

• 1946: Ballad for Band (Gr. 4-5) 

• 1952: Symphony No. 4 for Band (Gr. 6) 

• 1955: Derivations for Clarinet and Band (1955) 

• 1956: Santa Fe Saga (Gr. 5) 

• 1943/1971: American Salute (Gr. 5) 

• 1976: Hymnal on We Shall Overcome (Gr. 4) 

• Morton Gould 

• Symphony for Band “West Point” 

• Composed in 1952 

• Written for West Point Sesquicentennial (150) 
  celebration 

• 2 movements, “Epitaphs” and “Marches” 

•  Elements 

•  Melody: expanded themes combined with development of 
  short motives, developmental techniques (augmentation, 
  retrograde, sequence), ornamentation, melodic fragments 
  used as accompaniment, bugle calls and taps reference 

• Harmony: tonal with chromaticism, polychords, shifting 
  tonality, successive unrelated triads 

• Rhythm: rapid articulation required, duple against triple at 
  times, rhythmic intros (vamps) 

• Texture: mixture of homophony and counterpoint, chamber 
  style scoring, great contrast of color, use of muted brass 
  and marching machine 

• Form: sectional forms, cyclic, form driven by presentation 
  of melodic ideas 

• Howard Hanson Biography 

• 1896-1981 

• Studied piano, cello, and trombone as a youth 

• BA from Northwestern 

• 1921 – Received the first American Rome Prize 

• 1924-1964 – Director of the Eastman School of Music and conducted Eastman-Rochester Symphony 

• 1944 – Received Pulitzer Prize for his Symphony 4 

• Wrote Harmonic Materials of Modern Music: 
  Resources of the Tempered Scale 

• Howard Hanson Works for Winds (6) 

• 1954:Chorale and Alleluia (Gr. 4) 

• 1973: Dies Natalis (Gr. 4-5) 

• 1976: Laude (Gr. 4-5) 

• 1977: Variations on an Ancient Hymn 
  (Gr. 5) 

• Hanson Chorale and Alleluia 

• 1954 

• Premiered at the ABA convention at West Point 

• Elements 

• Melody:3 main themes, tuneful, conjunct, predictable 
  phrase structure 

• Harmony: traditional tonality with frequent key 
  changes, fulfills harmonic expectation, some 
  extended tertian, pedal points 

• Rhythm: frequent meter changes, repeated rhythmic 
  motives, some syncopation 

• Texture: homophonic, mostly dense scoring 

• Form: ABBA 

• Paul Creston Biography 1746 

• 1906-1985 (born Giuseppe Guttoveggio) 

• Completely self-taught as a violinist and composer 

• Established, multi-medium composer that took great interest in band music 

• Played organ in a silent movie house before becoming organist at St. Malachy’s Church (1934-1967) 

• Guggenheim Fellowship (1939) 

• Emphasized rhythmic development and innovation with his compositions and writing 

• Wrote two theory books: Principles of Rhythm and Rational 
  Metric Notation 

• Over 100 major works (11 works for winds, radio, television, film, 6 symphonies, 29 other scores for orchestra, solo winds – saxophone concertos, chamber groups) 

• Paul CrestonWorks for Winds (14) 

• 1947: Zanoni (Gr. 4+) 

• 1949: Prelude and Dance (Gr. 5) 

• 1955: Celebration Overture (Gr. 5+) 

• Creston Celebration Overture 

• Commissioned by ABA in 1955 

• Premiered at ABA conference in Elkhart, Indiana 

• Elements 

• Melody: short, rhythmic themes presented as unison line or in triadic harmony 

• Harmony: clearly tonal with frequent shifts, extended tertian harmonies 

• Rhythm: most notable element, dotted rhythms, displaced accents 

• Texture: mostly homophonic with emphasis on choirsof instruments, saxophone is a key timbre 

• Form: 3 sections (fast, slow, fast), Italian Baroque Overture 

• Schuman New England Triptych 

• Commissioned by Pi Kappa Omicron in 1956 (University of Louisville) 

• Based on the work of American revolutionary William Billings 

• Elements 

• Melody: based on preexisting themes, mixture oflyricism and pointed/rhythmically active melodies 

• Harmony: tonal with frequent key changes, polychords 

• Rhythm: some meter changes, accent displacement 

• Texture: mostly homophonic with some layering 

•  Form: 3 movements, each of which can function separately (I. Be Glad Then America II. When Jesus Wept III. Chester) 

• Peter Mennin 

• Biography 

• 1923-1983 

• Attended Oberlin and Eastman 

• Faculty at Juilliard (1947-1958) 

• Director of Peabody (1958) 

• President of Juilliard – succeeded Schuman (1962) 

• 7 symphonies, chamber orchestra, chamber winds, concertos, cantatas, choruses, and songs 

• Mennin Canzona listen to Otoole 

• Commissioned by Edwin Franko Goldman and League of Composers in 1951 

• His only work for winds  

• Elements 

• Melody: monothematic (3 variations), melodic development consistent with fugues (augmentation, diminution, stretto) Stretto- overlapping lines Answer comes before the end of themes 

• Harmony: tonal, extended tertian, triadic parallelism, polymodality 

• Rhythm: rhythmic vitality/drive, syncopation 

• Texture: contrapuntal, fugal writing 

• Form: single movement, rounded binary 

 
Texture Notes 

Harmonic Melody 

Chordal Harmony 

Rhythmic Harmony 

Rhythmic Accompaniment 

Fugue vs Canon 

Fugue follows very specific rules Canon can be more elementary  

Rounded Binary  

Precursor of Sonata Form 

• Clifton Williams Biography 

• 1923-1976 

• Grew up in Arkansas during depression – excelled in school as horn player for L. Bruce Jones at Little Rock High School 

• Attended Louisiana Tech 

• 1942 Bandsman for the Air Force 

• Attended LSU and Eastman (Bernard Rogers and Howard Hanson) 

• Taught at Univ. of Texas for 17 years (1949) 

• Chair of Theory and Composition at Miami (1966) 

• Taught Francis McBeth and John Barnes Chance 

• Known primarily for his works for band 

• Clifton Williams Works for Winds (29) 

• Fanfare and Allegro (1956) – Gr. 5-6 

• Symphonic Suite (1957) – Gr. 5 

• Dramatic Essay (1958) – Gr. 4 

• The Sinfonians (1960) – Gr. 4-5 

• Dedicatory Overture (1964) – Gr. 3-4 

• Symphonic Dance No. 3 “Fiesta” (1967) – Gr. 5 

• The Ramparts (1967) – Gr. 4-5 

• Caccia and Chorale (1976) – Gr. 5 

• Williams Fanfare and Allegro 

• 1956 

• First piece to receive the ABA Ostwald Award 

• Elements 

• Melody: develops themes by combining short motives, use of fugal techniques 

• Harmony: clearly tonal, extended tertian 

• Rhythm: rhythmic drive, ostinatos 

• Texture: homophonic, mostly dense 

• Form: 2 movements, sectional based on development of rhythmic motives 

• L’s to draw you to a note  

• Loudest, Lowest and Longest 

• Ralph Vaughan Williams 

• 1872-1958 

• Born to prestigious family with financial means 

• Played violin and piano as a youth 

• Attended Royal College of Music, good friend to Holst 

• 1903: Started collecting English folk songs with Holst 

• 1907: Studied with Ravel 

• 1914: Enlisted in Army, Fought in World War I in a field ambulance unit and as the first Army Director of Music 

• Professor of composition at Royal College of Music 

• Partly responsible for 20th century revival of English Music 

• Published essays on music and worked as a radio broadcaster 

• Vaughan Williams Works for Winds 

• Rhosymedre (Beeler) (1920) – Gr. 4 

• Toccata Marziale (1924) – Gr. 5 

• Folk Song Suite (1924) – Gr. 4-5 

• Sea Songs (1924) – Gr. 3-4 

• Flourish for Wind Band (1939) – Gr. 3 

• Scherzo alla Marcia (1955) – Gr. 5-6 

• Variations for Wind Band (1957) – Gr. 6 

• Vaughan Williams Scherzo alla Marcia 

• 1955 

• 16 players (pc, fl, 2 ob, 2 cl, 3 bsn, 2 hn, 2 tr, 3 tbn) 

• 2nd movement from his Sym. 8 for Wind Ensemble 

• Elements 

• Melody: short themes extensively developed, expansive melody in middle section 

• Harmony: tonal but progressions are not obvious 

• Rhythm: rapid note passages, displaced accents, driving rhythm context 

• Texture: contrapuntal in nature, balance of 
  transparency and density 

• Form: single movement with flow based on melodic presentation 

• Vincent Persichetti 

• 1915-1987 

• Born in Philadelphia to Italian (father) and German(mother) immigrants  

• Grew up on a street in Philadelphia that was home tonumerous immigrants 

• Child prodigy, played piano professionally at age 11 - first composition at age 14 (Serenade for Winds) 

• Played piano, organ, bass, and tuba 

• Professional church organist at age 16 

• BM from Combs College/Curtis Institute, Masters and Doctorate from Philadelphia Conservatory 

• Studied composition with Roy Harris and conducting with Fritz Reine 

• Vincent Persichetti 

• Combs College (1937): conducted orchestra and taught theory 

• Philadelphia Conservatory (1941-61) 

• Head of composition of Juilliard (1947): composition teacher – 
  William Schuman’s first hire 

• 1952: Director of publications of Elkan- Vogel Co 

• Wrote Twentieth-Century Harmony: Creative Aspects and Practices 

• Composed 16 major works for band  

• Vincent Persichetti 

• Love for Band Music 
  “Band music is virtually the only kind of music in America today (outside the pop field) which can be introduced, accepted, put to immediate wide use, and become a staple of the literature in a short time.” 

• Vincent Persichetti Important Works 

• 1926: Serenade No. 1 (10 winds) – Gr. 4-5 

• 1950: Divertimento – Gr. 5 

• 1954: Psalm – Gr. 5 

• 1954: Pageant – Gr. 4-5 

• 1956: Symphony No. 6 – Gr. 5-6 

• 1965: Masquerade – Gr. 6 

• 1966: Celebrations – Gr. 5 

• 1974: Parable IX (most complex) – Gr. 6-7 

• Vincent Persichetti Compositional Style 

• Used the style that best fit his artistic purpose 

• Melody 

• Contrast of “gracious” and “gritty” 

• Fragmentation 

• Diatonic, modal, synthetic scales, chromaticism 

• Harmony 

• Eclectic mixture of techniques 

• Use whatever resources are available 

• Extended tertian, polychords, polytonality, chromaticism 

• Rhythm 

• Blurred strong to weak beat pattern 

• Meter changes, odd and compound meters, contrasting duple and triple 

• Orchestration 

• Chamber scoring, moving away from the dense scoring of choirs of like instruments or voices 

• Mixed disparate timbres to create new colors 

• Enhanced role of percussion 

• Form 

• Often used traditional forms 

• Persichetti Divertimento 

• Composed in a log cabin school house in Kansas 1949-50) and premiered by Goldman Band in Central Park, NY in June 1950 with Persichetti conducting 

• His first work for band: “I was writing a piece in which the brasses were tossing the woodwinds about while the timpani were commenting. I began to realize that the strings were not going to enter. I guess when strings do not 
  enter into such a combination, one calls the medium band. The word band has always sounded good to me.” (letter to Fennell) 

• Based on classical divertimento (light multi-movement composition) 

• Divertimento Vs Serenade 

• Divertimento Played in the background, for a party.  

• Shorter movements 

• Novelty in nature   

• Six movements (11 minutes) – 1. Prologue 2. Song 3. Dance 4. Burlesque 5. Soliloquy 6. March 

• Representative of Persichetti’s style and influential because of its scoring approach for band  

• Persichetti Symphony No. 6 

• 1955-56: Commissioned by Washington University Chamber Band 

• Premiered at MENC Convention in St. Louis in April 1956 

• Departure from many established concepts of band music Persichetti style traits set in multi- movement work for band (classical forms) 

• Mov. I: Sonata form 

• Exposition, development, recapitulation 

• Moves from tonic to dominant(sonata princiapl)  then back 

• Came from  

• Mov. II: Strophic (based on preexisting material hymn from his Hymns and Responses for the Church Year) 

• Song style, verses etc 

• Mov. III: Arch Form 

• Mov. IV: Rondo Form (cyclic) previous material returns later comes (romantics song cycles)  

• 5 or 7  

• Abacaba 

• KKY and TBS 

• National band fraternity and sorority 

• Began commissioning works in 1953 to be performed by the National Intercollegiate Band 

• Often the composer conducted the 
  premier with the band 

• American Wind Symphony 

• Founded by Robert Boudreau (born as a chicken farmer) in 1957 and functioned until 2017 

• Based out of Pittsburgh (Heinz Family) 

• Auditioned players at university music schools for participation during the summer 

• Toured Americas water ways on a barge (Point Counterpoint) that converted into a stage 

• American Wind Symphony Instrumentation 

• Based on orchestral wind section 

• Double orchestral winds plus percussion 

• Woodwinds (32) 

• 2pc, 6fl, 6ob, 2Ehn, 6cl, 2bcl, 6bn, 2cbn 

• Brass (20) 

• 6tr, 6hn, 6tb, 2tu 

• Percussion, harp, keyboards, string bass 

• American Wind Symphony Commissioning 

• Commissioned over 400 works for Wind Ensemble 

• Major works 

• 1958: Symphony No. 4 (Hovhaness) 

• 1959: Paens and Dances of Heathen Iberia (Surinach) 

• 1963: Concerto for Wind Orchestra (Lopatnikoff) 

• 1964: Childrens Overture (Bozza) 

• 1966: Adagio for Winds (Rodrigo) 

• 1967: Pittsburgh Overture (Penderecki) 

• 1969: Divertissment (Casterade) 

• 1971: Report (Fiser 

• Ford Foundation Young Composers Project 

• 1959-1968 

• Initiated by Norman Dello Joio 

• Talented young composers placed in public school systems to compose music for school bands, orchestras and choirs 

• Battle For Standardized Band Instrumentation 

• 1952-1966: Numerous articles and meeting discussions debating the need for standardized band instrumentation around the world vs a composer’s right to choose instrumentation 

• 1960: Special meeting of CBDNA resulted in the creation of the “ideal wind band instrumentation”  

• WW: 1pc, 6fl, 2ob, 1Ehn, 2bn, 1Ebcl, 18cl, 6acl, 
  3bcl, 2cbcl, 1ssx, 1asx, 1tsx, 1bsx, 1bssx 

• Brass: 1Ebcn, 3Bbcn, 3tr, 4hn, 3tb,1btb, 3eu, 
  3tu 

• Percussion: 5 players 

• New Works for Winds  

• With progressive new ideas spreading, a new influx of works were contributed by established composers 

• New works reflected contemporary compositional techniques and a new 
  approach to scoring 

• New works had great impact because many of them were by composers accomplished in other medium 

• Pulitzer Prize Winning Band Composers 
  o William Schuman (1943) 
  o Howard Hanson (1944) 
  o Aaron Copland (1945) 
  o Walter Piston (1948 and 1961) 
  o Virgil Thompson (1949) 
  o Norman Dello Joio (1957) 
  o Leslie Bassett (1966) 
  o Karel Husa (1969) 
  o Michael Colgrass (1978) 
  o Joseph Schwantner (1979) 
  o David Del Tredici (1980) 
  o Ellen Taaffe Zwilich (1983 
  o John Harbison (1987) 
  o Gunther Schuller (1994) 
  o Morton Gould (1995) 
  o John Corigliano (2001) 
  o Paul Moravec (2004) 
  o Steven Stucky (2005) 
  o Jennifer Higdon (2010) 

• Ithaca High School Band 

• Directed by Frank Battisti from 1955-1967 

• Began commissioning works in 1958 

• Commissioned 29 works over a 13-year period 

• Goal: improve the quality of literature available for American high school bands 

• Composers: Persichetti, Schuller, Husa, Benson, Hovhaness, Adler, Bassett 

• In most cases, composers wrote their first piece for high school band 

• CBDNA Commissioning Project 

• Began in 1961 

• Over 25 pieces 

• 1961: Sinfonietta, Ingolf Dahl 

• 1964: Emblems, Aaron Copland 

• Wind Conducting Specialists 

• With new literature of unprecedented complexity, wind conductors needed better educational opportunities to adequately prepare for their professional tenures 

• Graduate wind conducting programs established in 1952 

• First DMA degree created by Howard Hanson at Eastman (1952) 

• Eastman, Northwestern, and Michigan were first to offer the degree 

• Led to improved reputation and image of wind band conductors 

• New Professional Organizations and Ensembles 

• 1960: National Band Association formed  

• 1977: Revelli Composition Contest 

• 1991: Merrill Jones Memorial Young Composers Contest 

• 1960: Tokyo Kosei Wind Orchestra 

• Includes some of the top ww, brass, and percussion in Japan 

• Led by Fennell (1984-1996) 

• Released over 75 recordings 

• Commissioned new works 

• Persichetti Masquerade for Band 

• Commissioned and premiered by the Baldwin-Wallace College Conservatory of Music Band in 1966 

• Melodic material based on music examples (9 of them) from his Twentieth Century Harmony text book – the work is a masquerade of his book 

• Theme and variations 

• Important and challenging percussion parts 

• Gunther Schuller 

• 1925-2015 

• Son of a violist with the NY Phil. 

• Studied flute and horn 

• Left high school to play professionally with the Ballet Theater Orchestra – has no diploma of any kind  

• At age 17, first horn of the Cincinnati Symphony 

• At 19, joined the Metropolitan Opera Orchestra 

• 1966-76: president of the New England Conservatory 

• 1977: full time composer and clinician 

• “Third Stream”: music that combines popular and traditional trends (jazz and “classical”) 

• Supported a global concept of music: no qualitative 
  distinctions between categories of ethnic or cultural 
  music. 

• Gunther Schuller Works for Winds (22) 

• 1959: Symphony for Brass and Percussion (Gr. 6) 

• Not tuneful, atonal, very difficult,  

• 1963: Meditation (Gr. 5) 

• 1981: Symphony No. 3 “In Praise of Winds” (Gr. 6) 

• 1989: On Winged Flight (Gr. 5)  

• Schuller Symphony for Brass and Percussion 

• 1959 

• Intended to show capabilities of brass instruments beyond stereotypical roles. 

• Elements 

• Melody: not tuneful, short motives extensively developed, lyricism layered with pointillism 

• Harmony: atonal, extensive dissonance/chromaticism, extended tertian chords 

• Rhythm: rapid articulation required, complex rhythmic structures 

• Texture: contrapuntal in nature, balance of transparency and density 

• Form: 4 movements, each representing one aspect of brass characteristics 
  o I. Andante-Allegro-Andante 
  o II. Vivace (scherzo) 
  o III. Lento (almost entirely for 6 muted trumpets) 
  o IV. Allegro (quasi cadenza) 

• Ingolf Dahl 

• 1912-1970 

• Born in Germany 

• Educated in Cologne and Zurich before immigrating to the US in 1938 

• Studied with Boulanger 

• Taught at U of Southern California 

• Relatively small compositional output 

• Influenced by Stravinsky and Schoenberg 

• Ingolf Dahl Works for Winds 

• 1949/1953: Concerto for Alto Saxophone and Wind Ensemble (Gr. 6) 

• 1961: Sinfonietta (Gr. 6)  

• Dahl Sinfonietta 

• Commissioned by Western and Northern divisions of CBDNA in 1961 

• Premiered by USC Wind Orchestra 

• Witty references to traditional band literature 

• Elements 

• Melody: fragments repeated and developed, wide intervals, contrast of lyrical and detached 

• Harmony: combines tonality with serialism 

• Rhythm: complex structures, blurred strong-to-weak beat relationship, rapid note passages 

• Texture: soloistic and colorful writing, emphasis on small groups of players, extreme contrast 

• Form: Arch form over 3 movements (19:30) 
  o I. Introduction and Rondo (combines Rondo and Sonata forms) 
  o II. Pastorale Nocturne (ternary) 
  o III. Dance Variations (theme based on retrograde of introduction of first movement 

• Aaron Copland 

• 1900-1990 

• Born in New York 

• Piano and composition lessons at an early age 

• Studied with Nadia Boulanger in Europe 

• Taught at New School for Social Research 

• From 1943 onward, established composer in US, sharing music on radio and conducting orchestras and bands across the country 

• Composed theater scores, ballets, opera, symphonies, film scores, and considerable choral and instrumental chamber literature 

• Copland Emblems 

• Premiered at CBDNA convention in 1964 by USC band; not well received 

• Last work for large ensemble - incorporates Copland style traits 

• Only work for full band medium 

• Elements 

• Form: ternary design (ABA), B section is a theme and variations 

• Melody: new and preexisting melodic material (Amazing Grace), motivic development 

• Harmony: open spacing with polychords and other dissonant structures, bitonality 

• Rhythm: jazz rhythms, heavy syncopation at times, hemiola 

• Orchestration: technical demand, extended ranges, chamber scorin 

• Vittorio Giannini 
  o 1903-1966 
  o Born in Philadelphia 
  o Studied at Royal Conservatory in Milan, Italy and Juilliard 
  School 
  o Professor of Composition at Juilliard School, Manhattan 
  School of Music, and the Curtis Institute 
  o President of North Carolina School of Arts 
  o Compositional voice: late Romantic combined with Italian 
  vocal 
  o “I will not go into the technical details of the work. 
  Basically, the listener is not concerned with them beyond 
  what they can hear for themselves. I follow no ‘isms’ when 
  I compose; I try to project and communicate a feeling, a 
  thought that is in me at the time, using whatever technique 
  is suggested by my mood to achieve this communication.” 
  o Taught John Corigliano and Alfred Reed 

Vittorio Giannini 
o 1903-1966 
o Born in Philadelphia 
o Studied at Royal Conservatory in Milan, Italy and Juilliard 
School 
o Professor of Composition at Juilliard School, Manhattan 
School of Music, and the Curtis Institute 
o President of North Carolina School of Arts 
o Compositional voice: late Romantic combined with Italian 
vocal 
o “I will not go into the technical details of the work. 
Basically, the listener is not concerned with them beyond 
what they can hear for themselves. I follow no ‘isms’ when 
I compose; I try to project and communicate a feeling, a 
thought that is in me at the time, using whatever technique 
is suggested by my mood to achieve this communication.” 
o Taught John Corigliano and Alfred Reed 

Giannini Works for Winds (5) 
o Praeludium and Allegro (1958) 
o Symphony No. 3 (1958) 
o Fantasia for Band (1963) 
o Dedication Overture (1965) 
o Variations and Fugue (1967) 

Giannini Symphony No. 3 
o Commissioned in 1958 by Duke University Band through the Mary 
Duke Biddle Foundation 
o Composed while Giannini was vacationing in Rome 
o Premiered by Duke University Band, Paul Bryan conducting, in the 
summer of 1958 
o Elements 
n Melody: clear thematic material in Romantic style, intervallic 
relationships (perfect 4 th ) 
n Harmony: no key signature (numerous accidentals), tonal 
n Rhythm: basic meter changes, some complex structures 
n Texture: balance of dense and sparse 
n Form: uses Classical structures 
o Mov. I: Sonata Form 
o Mov. II: Ternary Form 
o Mov. III: Binary Form (ABAB) 
o Mov. IV: Sonata Form 

Giannini Symphony No. 3 
o Commissioned in 1958 by Duke University Band through the Mary 
Duke Biddle Foundation 
o Composed while Giannini was vacationing in Rome 
o Premiered by Duke University Band, Paul Bryan conducting, in the 
summer of 1958 
o Elements 
n Melody: clear thematic material in Romantic style, intervallic 
relationships (perfect 4 th ) 
n Harmony: no key signature (numerous accidentals), tonal 
n Rhythm: basic meter changes, some complex structures 
n Texture: balance of dense and sparse 
n Form: uses Classical structures 
o Mov. I: Sonata Form 
o Mov. II: Ternary Form 
o Mov. III: Binary Form (ABAB) 
o Mov. IV: Sonata Form 

Norman Dello Joio 
o 1913-2008 
o Born in New York – father was an opera coach and 
organists 
o Performed as professional organist at 14 
o Attended Juilliard and studied at Yale with 
Hindemith 
o Won Pulitzer Prize in 1957 
o Won Emmy for in 1965 for television score to The 
Louvre 
o Faculty of Sarah Lawrence College and Mannes 
College of Music, Dean of the School for the Arts at 
Boston University 
o Influenced by Roman Catholic liturgical chant – 
listened to his father rehearse and prepare for 
service 

Dello Joio Wind Works (13) 
o Variants on a Medieval Tune (1963) 
o From Every Horizon (1965) Gr. 4 
o Scenes from the Louvre (1966) Gr. 4 
o Fantasies on a Theme by Haydn 
(1968) 
o Songs of Abelard (1969) 
o Concertante (1973) Gr. 4 
o Satiric Dances (1975) Gr. 4 

Dello Joio 
Variants on Medieval Tune 
o Commissioned in 1963 by Duke University 
Band through Mary Duke Biddle Foundation 
o Elements 
n Melody: uses “In dulci jubilo” as source 
material; melody dictates form 
n Harmony: tonal, traditional harmonic approach 
n Rhythmic: few meter changes, moderate 
rhythmic demands, some rapid pitch repetition, 
ostinatos 
n Texture: mostly homophonic, large brass with 
chamber woodwind scoring 
n Form: brief introduction, theme, and 5 
variations 

Dello Joio 
Variants on Medieval Tune 
o Commissioned in 1963 by Duke University 
Band through Mary Duke Biddle Foundation 
o Elements 
n Melody: uses “In dulci jubilo” as source 
material; melody dictates form 
n Harmony: tonal, traditional harmonic approach 
n Rhythmic: few meter changes, moderate 
rhythmic demands, some rapid pitch repetition, 
ostinatos 
n Texture: mostly homophonic, large brass with 
chamber woodwind scoring 
n Form: brief introduction, theme, and 5