In learning the technique required to develop a performance-worthy transcription, I was encouraged to research the lost or forgotten works of memorable composer recognized by Western musical history. The articles below are the result of this research, and the scores that followed represent a noteworthy expression of performance. It is my hope that you will find these efforts worthy of your time and consideration. Publication of these works are governed by the U.S. Copyright, Title 17, and thereby under the exclusive ownership and property rights provided the author by federal law. If you wish to utilize any of this research for your coursework, I encourage you to contact me directly for licensing, which will outline the guidelines and restrictions of use.
…written in 1930, and based upon material written by Copland during studies with Nadia Boulanger, the work features excerpts from the original ballet (Grogh; 1922 – 25), threaded together in a symphonic, yet poetic, submission to a RCA Victor-sponsored contest of new orchestral music. And, though the judges failed to reach a conclusive winner, DANSE SYMPHONIE provided Copland both prize money and recognition as the first major American accolade of his career. Some 800 pages from the holdings of the Library of Congress – obtained with exclusive approval of the Copland Estate, The Copland House, and Boosey & Hawkes – have been carefully considered in the development of this transcription for wind band. Detailed notes that include handwritten corrections from Copland himself are included in the edition…
In 1978, Acton Eric Ostling Jr. (b. 1936) presented a thesis to The University of Iowa, which offered an evaluative method to identify academic wind band literature worthy of study and programming. The design utilized twenty conductors, experts in wind band literature, and ten specific criteria found in all musical works of serious artistic merit. Three outcomes were sought: (a) to assist wind band conductors by predetermining “what compositions within [the] large body of literature are most-worthy of study and performance” (Ostling, 1978, p. 12); (b) to encourage wind band conductors to select compositions of higher quality for study and performance; and, (c) to identify and classify a basic core wind band repertoire list (Ostling, 1978). Since the seminal study, updated, revised or extended studies have replicated the Ostling design. In addition, various national, state, and local organizations have used the Ostling (1978) design as tool for determining the programming and curriculum repertoire of academic settings.
This case study found the Ostling (1978) design flawed at its attempt to summon integrity and validity to its study. By abbreviating the Delphi method, the population was devoid of the academic, social, and professional stratifications necessary for repertoire education. This led to a sample restricted of the expert value judgments necessary to achieve consensus, a preemptive goal of the study. The use of copyrighted, yet unpublished musical literature infringed upon Fair Use by failing to obtain informed consent prior to use. Published catalogues of repertoire were deemed to have serious artistic merit under the incorrect assumption that the methodology, procedures, and findings of the seminal study were sound. These catalogues, as distributed, further infringed upon Fair Use practices, presenting harm to copyright holders. Updated, revised, and extended studies using the Ostling (1978) design are governed under revised and detailed standards for Fair Use and human subject research not available at the time of the seminal study. As such, the Ostling (1978) design should cease to be used as a human subject research methodology, and should be removed from any influence in programming, curriculum, or as the basis for future research.
Dissertation Committee: Dr. Keith Drieberg (chair), Dr. John Burdett, Dr. Robert Cruise, Dr. Anita Oliver
…the influence of The Exposition Universelle of 1889 – held in Paris, France, from 6 May to 31 October 1889 – marked the 100th anniversary of the storming of the Bastille, an event considered symbolic of the beginning of the French Revolution. The event had an enormous affect upon Russian composers seeking to reconcile the nationalistic tendencies of the ‘mighty handful’ with the European academic approach. Evening musical settings inspired Alexandre Glazunov (1865-1936) – a Russian composer who sought the means to link formal approaches of Russian Romanticism with twentieth-century musical developments – to create a musical expression of American nationalism unheard of in its day. The finished work, TRIUMPHAL MARCH, Op. 40, held its world premiere on the opening night of the Chicago Exposition of 1893. Performed by the Chicago Symphony Orchestra, alongside a 400 member choir, the work received international acclaim for its use of THE BATTLE HYMN OF THE REPUBLIC as thematic material, culminating is a grand nationalistic gesture toward the American public…