James Robert Gillette (1886-1963) was an early advocate for original wind band music at a time when marches and band transcriptions of orchestral music contributed heavily to the wind band repertoire. Primarily known as an influential, in-demand organist and composer, Gillette became the director of the Carleton College band program in Northfield, Minnesota in 1924. Taking an innovative approach to building, organizing, and programming, Gillette transformed that group into the Carleton Symphony Band and led a wider push for the symphonic band movement. In promoting his ideals of the symphonic band, he composed and arranged music specifically for the Carleton Symphony Band. One of his original works, Vistas, was widely performed and well-received in the decade just prior to and after its publication in 1934. Despite the popularity of the piece at that time, it has since gone out of print and is a rarely performed piece from Gillette's repertoire. This dissertation focuses on Vistas, Gillette's second published tone poem. This study starts with the examination of the history of Vistas from its origins as a movement in Gillette's transcription of Paul Robert Fauchet's Symphony in B-flat to its subsequent transformation and publication as an original work for band. Next, …

Since the 1980s, British-style brass bands - community ensembles modeled after the all-brass and percussion bands of Great Britain - have enjoyed a modest regeneration in the United States. During this same period, as many as 23 colleges and universities in the U.S. have founded their own curricular or extra-curricular brass band. The purpose of this research study was: to discover which schools sponsor a brass band currently; to discover which schools formerly sponsored a brass band but have since discontinued it; to describe the operational practices of collegiate brass bands in the U.S.; and to determine what collegiate brass band conductors perceive to be the challenges and benefits of brass band in the curriculum. Data for the study were collected between February, 2015 and February, 2016 using four custom survey instruments distributed to conductors of college and university brass bands. The results showed that 11 American collegiate institutions were sponsoring a brass band during the period of data collection. Additional findings included descriptions of the operations of collegiate brass bands, such as availability of credit, rehearsal time, and instrumentation. Results also included the conductors' reported perceptions that both challenges and benefits are inherent in student brass band participation, and …

The wind bands in Japan are considered by many scholars and wind band conductors to be among some of the finest ensembles in today's wind ensemble medium. The literature and repertoire of Japanese ensembles have evolved from orchestral transcriptions, patriotic music, and military marches to original compositions by European, American, and Japanese composers. British conductor Timothy Reynish states that Japanese wind band music has looked traditionally towards the United States and occasionally United Kingdom for inspiration and repertoire. This phenomenon can be attributed to the many collegiate American and the few English wind band conductors who traveled to Japan as guest conductors, and in some cases, became residents of Japan. The focus of this study is to closely examine this significant impact of American collegiate wind band conductors, their influence on Japanese programming and how that programming has affected the collegiate repertoire. This study includes surveys of repertoire, concert programs, discographies of recordings, and interviews with prominent American conductors currently conducting in Japan. This research documents the impact that American wind band conductors have had on the programming of Japanese wind bands and how their influence have altered the collegiate repertoire. Evidence of this impact is documented by Toshio Akiyama, …

Award winning composer Kevin Walczyk's describes himself as a "musical storyteller," using all musical elements of structure, melody, harmony, and counterpoint to convey programmatic content. A variety of subjects are conveyed that include historical events, people, physical objects or locations, and literary texts. Deeper matters, such as spiritual themes, are also often incorporated in his music that enhance the musical program. The technical procedures employed—pertaining particularly to the expression of programmatic content—has produced a unique musical language that stands out in the modern compositional landscape. What are these inherent idiomatic features, and how are they exhibited? The purpose of this dissertation is to provide a detailed examination of Walczyk's distinct musical language. A critical analysis of the technical procedures used to convey his programmatic content, as well as insights into his influences and writing process, illuminate the attributes of this a posteriori musical language. The two works selected for this study to demonstrate this are Symphony No. 2: Epitaphs Unwritten and Talking Winds, both written for wind band.