Grainger+State+of+the+Research+1998+paper+Koops

I wrote this paper in 1998, so it really needs to updated... maybe one of you readers or contributers could help?

=State of the Research on the Wind Music of Percy Grainger= Introduction to Music Bibliography- (Professor: Laurie Sampsel) 10-28-1998 by Alexander Koops

This is a state of the research project on the wind music of Percy Grainger. It includes any sources that specifically discuss the **__wind__** music of Grainger. It does not include general writings about Grainger, biographies, or writings about his music for other mediums such as orchestra or piano or about his piano playing. It does not included reviews of performances or books.

Articles on Specific Pieces
Frederick Fennel, who wrote many of the following articles, is regarded as one of the leaders in the wind band movement in America and has made numerous recordings that helped establish the important pieces for bands as well as writing numerous articles about important band compositions. He is currently principal guest conductor of the Dallas wind symphony, principle conductor of the Tokyo Kosei Wind Orchestra in Japan, and Professor Emeritus at the University of Miami School of Music.


 * Denotes article reprinted in “The Conductors Anthology” published by The Instrumentalist Company.

=Australian Up-Country Tune= --See General books, etc. : Miles, Richard. //Teaching music through performance in band//. __Children’s March__ --See also: General books, etc. : Miles, Richard. //Teaching music through performance in band//.


 * 1) 1. *Fennell, Frederick. “Children’s March.” //Instrumentalist// 37 (Dec. 1982): 20-25.

Interesting background information (although it does not explain the playmate beyond the hills) is followed by a very clear and straightforward diagram showing the form with measure numbers and all the different keys the piece goes through. This “interpretive analysis” discusses many. issues including tempo, balance, wet and dry styles of playing, and highlighting certain melodic material. There are many musical examples.

__Colonial Song__ --See also: General books, etc. : Miles, Richard. //Teaching music through performance in band//.


 * 1) 2. *Fennell, Frederick. “Colonial Song.” //Instrumentalist//, 37 (March 1983)14-19.

Fennell lists five important challenges for conductors: study in ensemble playing, developing a singing, vibrant, ultimately sustained tonal production, tonal balance, lesson in basic accompanying, and study in Rabat. The article then covers several technical and musical issues including tempos, direction of the melodic line, some possible changes in the score like substituting timpani for the string bass in m. 15,17,20,and correcting some pitches. There are good musical examples included in the article.

__Country Gardens__
 * 1) 3. *Fennell, Frederick. “Basic Band Repertory: Country Gardens by Percy Grainger.” //Instrumentalist//, 37 (Jan. 1983): 20-21.

This very short article gives some concrete suggestions on conducting that reflects the music and includes a visual diagram of what that might look like. There is also a clear diagram of the form that includes measure numbers, harmony, and form.

=Hill Songs=
 * 1) 4. Fennell, Frederick. “Basic Band Repertory: Hill Song No. 2 by Percy Aldridge Grainger.” Instrumentalist, 38 (Feb. 1984): 22-29.

See General books, etc. : Balaough, “Musical Genius from Australia.”
 * 1) 5. Grainger, Percy. “Percy Aldridge Grainger’s remarks about his Hill -song No. 1” //Grainger// //Journal//, 1, no. 2 (1978): 14-23.


 * 1) 6. Rodgers, Robert Mark. “A chronology of the Hill Song’s of Percy Aldridge Grainger//.” Journal of Band Research, 27//, no. 1 (Fall 1991): 1-15.


 * 1) 7. Rodgers, Robert Mark. “The Hillsongs of Percy Aldridge Grainger: An historical and analytical study with a new performance edition.” Diss. University of Texas, Austin: 1987.


 * 1) 8. Slattery, Thomas. “The Hillsongs of Percy Aldridge Grainger.” //Journal of Band Research//, 8 (Fall 1971): 6-10.

=The Immovable Do=
 * 1) 9. *Fennell, Frederick. “The Immovable Do.” //Instrumentalist,// 37 (May 1983): 32-34.

__Irish Tune from County Derry and Sheperds Hey__ --See also: General books, etc. : Miles, Richard. //Teaching music through performance in band//.


 * 1) 10. *Fennell, Frederick. “Percy Grainger’s Irish Tune from County Derry and Sheperd’s Hey.” //Instrumentalist,// 33 (Sept. 1978): 18-25.

This is a short informative article giving a brief background on both pieces followed by “an interpretive analysis.” The analysis includes a description of the formal structure and some important conducting issues including specific balance problems, and the importance of tempos.

Note! Also see Garafaloe/Battisti Conductors guide to score study

=Lincolnshire Posy= --See also: General books, etc. : Miles, Richard. //Teaching music through performance in band//.


 * 1) 11. *Begian, Harry. “Remembering how Grainger conducted Lincolnshire Posy.” //Instrumentalist,// 47 (Aug. 1992): 117-20.

“When Harry Begian was a student at Wayne State University, the band performed Lincolnshire Posy under the direction of Percy Grainger on two of his visits to the campus. The following are recollections of Grainger’s musical interpretaion and comments.” Begian describes rehearsals with Grainger and how his conducting technique was usually poor but “he spoke succinctly and positively about what he wanted to hear” making up words that fit what he wanted like “undowithoutable.” There are clear descriptions of style, tempo, balance issues, and many other important issues quoted from the mouth of the composer which anyone considering conducting this should really read.


 * 1) 12. *Fennell, Frederick. “Lincolnshire Posy part 1.” //Instrumentalist//, 34 (May 1980): 42-48.
 * 2) 13. *Fennell, Frederick. “Lincolnshire Posy part 2.” //Instrumentalist//, 35 (Sept. 1980): 15-20.
 * 3) 14. *Fennell, Frederick. “Lincolnshire Posy part 3.” //Instrumentalist//, 35 (Oct. 1980): 28-36.

These are detailed, interesting and very useful articles. They give very good background on each movement: an explanation of form and tonal centers, stories of what the folk singer sang, suggestions for rehearsal techniques, balance issues, magical moments in movment 2, conducting the mixed meter in movement 3 and getting the players to pull it off, musical examples, and diagrams of conducting patterns.


 * 1) 15. Grauer, Mark. “Grainger’s lost letters on Lincolnshire Posy.” //Instrumentalist,// 47 (Aug. 1992): 12-17.

This article entertains but also enlightens through quotes of actual letters written around the time of the premiere of Lincolnshire Posy. One of the Grainger’s letters to R. F. Goldman, goes like this: “Mr. Goldman says you are going to have plenty of alto and bass clarinets (6 of each?) I would like awfully if as many as possible alto and bass clarinets took part in my pieces.” The description of the rehearsals and performances that took place is very impressive and will interest anyone who is conducting Grainger master wind work.


 * 1) 16. Knight, John Wesley. “Graphic Analyses of the Conducting Techniques for Irregular Meters and Nonmetrical Organizations Found in Selected Twentieth-Century Band Literature.” Diss., The Louisiana State University, 1979.


 * 1) 17. Slattery, Thomas. “The Life and Work of Percy Grainger Part 2, Lincolnshire Posy.” //Instrumentalist//, 22 (Dec. 1967): 47-49.

This is a short musical description of Lincolnshire Posy that gives basic information like form, tonal centers, and background stories. It is accurate but not nearly as in depth and enlightening as Fennell’s articles from 1980.

A.
 * 1) 18. Winkle, William Allan. “Grainger’s Lincolnshire Posy: An Early masterpiece for Wind Band.” Diss., University of Northern Colorado, 1976.

KOOPS ADDITION 2.20.2102: Wind Rep Project. LP Mvt. 2 http://windrep.blogspot.com/2010/03/songs-from-lincolnshire-part-two.html

=Molly on the Shore=
 * 1) 19. *Fennell, Frederick. “Molly on the Shore.” //Instrumentalist//, 38 (Oct. 1983): 24-29.

Fennell gets right down to the topic at hand and covers the origins of the tune and the basic keys and form. As usual he discusses some balance issues, but also goes into the different climaxes in the piece and has a special boxed section dealing with group dynamics. =Two Grainger Melodies= --See General books, etc. : Miles, Richard. //Teaching music through performance in band//.

__Ye Banks and Braes o’Bonnie Doon__
 * 1) 20. Fennell, Frederick. “Ye Banks and Braes o’Bonnie Doon.” //Instrumentalist//, 32 (Sept. 1981): 29-32.

=**General Articles, Books and Dissertations**=
 * 1) 21. Balaough, Teresa, ed. A //Musical Genius from Australia//. Nedlands: University of Western Australia Press, 1982.

This book includes numerous writings by and about Grainger arranged into groups: pianism, folk song, composition, music education, the Grainger museum, and free music. The section on composition includes an article written by Grainger specifically about his Hill-Song No. 1. He organizes the article into sections based on different compositional experiments he was working on as he composed Hill Song No. 1, including wide-toned scales, irregular rhythms, democratic polyphony, and semi discordant triads among many others. For each section there are several musical examples. It is important information from the composer that is worth knowing especially for conductors, but also for composers and listeners who are interested in more knowlegde about how and why Grainger composes the way he does!


 * 1) 22. Bruning, Earl Henry Jr. “A survey and hand book of analysis for the conducting and interpretation of seven selected works in the standard repertoire for wind band.” Diss.: Ball State University: 1980.


 * 1) 23. Fred, Herbert W. “Percy Grainger Music for Wind Band.” //Journal of band Research//, 1, No. 1(1964): 10-16.

This is a general article that would give a neophyte Graingerist an introduction to Grainger’s wind music. It gives brief discussions of many pieces, sometimes with musical examples to explain and give clarity. For example, Grainger is a great harmonic inventor is backed up by a musical excerpt from Horkstow Grange-Lincolnshire Posy, which highlights the interesting harmony.


 * 1) 24. Josephson, David. “Percy Grainger: Some problems and approaches.” //Current Musicolog//y, 18 (1974): 55.
 * 2) 25. Josephson, David. “The wind music of Percy Aldridge Grainger.” //Current Musicolog//y, 16 (1973): 55.
 * 3) 26. Lewis, Thomas P. ed., //A Source Guide to the Music of Percy Grainger//. White Plains, New York: Pro/Am Music Resources, inc., 1991.

An important book that gives biographical information in addition to the thorough coverage of the sources and background to Grainger’s music. Chapter 4, titled “Program Notes” tells exactly where the tune came from and also what different versions of it Graingers has created. For example the entry on “Irish Tune from County Derry” begins with a quote from Grainger: “the tune was collected by Miss J. Ross, of New Town, Limavady Co. Derry (Ireland) and printed in //The Petrie Collection of the Ancient Music of Ireland// (Dublin, 1855) on page 57…” and the entry goes on to explain the following various versions: version for unaccompanied chorus, version for chorus and instruments, version for piano solo, version for band, and the dates of each of these. This is an excellent resource for finding the original tunes that Graingers folk melodies came from as well as for writing program notes!


 * 1) 27. Miles, Richard, comp. and ed. Teaching Music Through performance in Band. Chicago, GIA Publication, Inc. 1997.

This is a very valuable book for band directors which covers numerous topics including several chapters on specific band pieces organized into chapters by grade difficulty of the work. The book was put together by 6 leading college band directors/music educators in the United States with the express purpose of helping band directors become better music teachers. Grainger,s pieces included in this book are Australian Up-Country Tune, Irish Tune from County Derry, Children’s March, Colonial Song, Lincolnshire Posy, and Two Grainger Melodies and for each piece there are 9 units to be used at the discretion of the band director as potential lessons for the band. The units are: composer, composition, historical perspective, technical considerations, stylistic considerations, musical elements, from and structure, suggested listening, and additional references and resources.


 * 1) 28. Pittman, Daniel Sayle, and Jr. “ Percy Grainger, Gustav Holst, and Ralph VanWilliams: a comparative analysis of select wind band compositions.” Diss., Memphis State: 1979.


 * 1) 29. Rehrig, William H. //The Heritage Encyclopedia of Band Music//. Westerville, OH: Integrity Press, 1991.

This is an exhaustive listing of composers who have written for band. For each composers it gives a brief biography and then list all known works for band by that composer.


 * 1) 30. Slattery, Thomas. “The Life and Work of Percy Grainger Part 1.” //Instrumentalist,// 22 (Dec. 1967): 47-49.
 * 2) 31. Slattery, Thomas. “The Life and Work of Percy Grainger Part 3.” //Instrumentalist,// 22 (Jan. 68): 36-38.

Although these two articles are 30 years old, they still divulge insightful background information on the standard Grainger repertoire. After a brief biographical sketch there is a chronological perusal of Grainger’s wind pieces with interesting tidbits scattered through out: “Although no sarrusophone parts are listed in the 1941 publication, Grainger employed them in the earliest performances(of Lads of Wamphray. )“ A listing at the end of Part 3 includes all arrangements for wind band known at that time, brass band pieces, choral works accompanied by band, folk tune settings, and original music for wind band.


 * 1) 32. Slattery, Thomas. “The wind music of Percy Aldridge Grainger.” Diss. University of Iowa: 1967.
 * 2) 33. Smith, Norman and Albert Stoutamire. //Band Music Notes//. Lake Charles, LA: Program Note Press, 1989.

This is a trustworthy reference book for brief background information on band composers and their music and is useful for writing program notes. It includes: Children’s March, Colonial Song, Handel in the Strand, Hill Song 2, Irish Tune from County Derry and Sheperds hey, Lincolnshire Posy, The Power of Rome and the Christian Heart, and Ye Banks and Braes o’Bonny Doon. There is a short biography on Grainger followed by information on each of the above listed pieces. Each entry includes names of arrangers, publishers and dates, grade difficulty, total length of time of performance, and suggested recordings.


 * 1) 34. Uggen, Stuart. “Percy Grainger in Perspective.” //The Instrumentalist//, 24 (June 1970): 38-41.


 * 1) 35. Wilson, Brian Scott. “Orchestration Archetypes in Percy Grainger’s Wind Band Music.” Diss., The University of Arizona, 1992.