HINDEMITHS INFLUENCE ON THE AMERICAN WIND BAND SYMPHONY

Jim Daughters
MUS 622: Symphonic Literature
November 22, 2014

ABSTRACT

Paul Hindemith remains one of the most recognizable composers of the twentieth
century for many reasons. His life story, like that of many other artists living in Europe
during World War I and World War II, includes relationships with some of the most
influential artists of his generation, including fascinating correspondence with the Nazi Party
in Germany. Like other composers of this generation, Hindemiths music was influenced by
the tumultuous happenings around him. He eventually found it necessary to flee his
homeland, immigrating to the United States in 1940 after taking refuge in Switzerland.
Hindemiths body of work contains numerous compositions covering a myriad of genres and
styles. Among these, the Symphony in B-flat, composed in 1951 for concert band, quickly
became the landmark work of the band repertoire and proved to be the catalyst that changed
the course of the wind band genre as we know it today. Prior to 1951, very few composers
attempted symphonies for band and those that were fortunate to have their symphony
performed, found little positive response and the symphonies were soon forgotten. The
Hindemith symphonys musical and technical genius has been solidified by large volume of
performances it has received, recordings, and subsequent symphonies composed after 1951.
Given the success of the Hindemith symphony, it was not the symphony alone that served as
the tipping point for a boom in symphony compositions for band after 1951. A perfect
storm of events leading up to 1951 and shortly there after, all working in tandem, served as
the point of which the legitimization of the wind band became a serious artistic medium. The
availability of radio and the subsequent broadcasting of thousands of hours of music weekly
during the first half of the twentieth century, the Hindemith symphony itself, and the creation
of the Eastman Wind Ensemble all combined to bolster the reputation of the wind band and
its works.

Hindemiths Influence on the American Wind Band Symphony

From the early 17th century, countless works have been composed entitled
symphony. The early meaning was vague and the term was used irregularly and
represented many forms. It was not until the 18th century that symphony represented a
tangible formatic design and reached its initial peak of development stylistically and
formally in the symphonies of Mozart and Haydn. 1 In its mature form, most symphonies
composed are intended to be performed by orchestras, however, some composers have
chosen to write symphonies for band, with a few examples dating from the eighteenth
century. Hector Berlioz composed the Grande Symphonie Funbre et Triomphale
(Grand Funeral and Triumphal Symphony) in 1840 and Richard Wagners
Trauersinfonie, composed in 1844, was written as a funeral march, for wind band. Both
have symphony written in their titles and represent a considerable quality of music for the
wind band with instrumentation similar to todays. However, it was not until 1951 that
Paul Hindemiths Symphony for B-flat for concert band legitimized the symphony as a
genre appropriate and suitable for the wind band.
The orchestral lineage of the symphony has evolved substantially since the early
symphonies of Haydn and Mozart. Beethoven, like a force of nature, imprinted his
compositional prowess on the genre and set the stage for the symphony to become a
proving ground for composers, with many suggesting the symphony as being the ultimate
genre of composition. Romantic composers evolved the symphony into much larger
proportions by expanding formal structures and instrumentation, and introducing
programmatic and nationalistic elements into their symphonies. Not to be outdone, other
1

Timothy C. Running, An Annotated Bibliography of Symphonies for Band to 1989

(DA diss., University of Northern Colorado, 1991), 2.

composers of the romantic period and early twentieth century scrapped traditional forms
of the symphony, such as a the first movement sonata form and traditional three or four
movement symphony, and composed symphonies which more movements than the
traditional classic symphonies, or composed an entire symphony consisting of one
continuous movement.2
The wind band has not had the same fortune of longevity as a medium as
orchestras have enjoyed. Wind band, as a tangible and reliable performance ensemble
capable of performing music of significant aesthetic quality, is a very young medium.
The first half of the twentieth century saw a flood symphonic and operatic transcriptions
being performed by bands with original compositions considered an afterthought. These
ensembles took their cue from the Sousa Band and their conductor, John Philip Sousa,
who consequently was consumed with making money. Sousa says as much in his
autobiography, Marching Along.3 The purpose of college bands was not to make money,
but they felt their purpose was to entertain on as popular as basis as possible. Two books
written in 1938, Prescott and Chidesters Getting Results with Schools Bands and Richard
Goldmans The Band Music suggested that over 85% of music performed by bands were
transcriptions.4
Gustav Holst and Ralph Vaughan Williams initiated important literature for the
modern band in the twentieth century, but neither wrote a symphony, however they did
elevate the bands potential for performing quality, original band music. The Holst First

Preston Stedman, The Symphony (Englewood Cliffs, N.J.: Prentice-Hall, 1979), PAGE.
David Whitwell, "The College Band: Can It Escape Its Heritage?" Music Educators
Journal 51, no. 6 (1965): 4.
4 Whitwell, The College Band, 4.
3

Suite in E-flat and Second Suite in F, both for military band, were completed by 1911 and
performed with some regularity. Ralph Vaughan Williams and Percy Grainger both
contributed an array of compositions for band, which relied heavily on folk songs as
source material for works. Other noted composers including Gordon Jacob, Darius
Milhaud, Arnold Schoenberg, Morton Gould, Samuel Barber, and Alfred Reed, all made
valuable contributions to the wind band repertoire of the early twentieth century however
most were short compositions which did little to elevate the band as an artistic ensemble
worthy of time and effort of the most outstanding composers of the time.5 While their
contributions to the wind band are of the upmost quality and still performed with
regularity, composers were not considering the wind band as a serious medium, most
composing only one or two short works for band and typically on commission.
Paul Hindemith remains one of the most recognizable composers of the twentieth
century. His life story, like that of many other artists living in Europe during World War
I and World War II, includes relationships with some of the most influential artists of his
generation, including fascinating correspondence with the Nazi Party in Germany. 6 Like
other composers of this generation, Hindemiths music was influenced by the tumultuous
happenings going on around him in Europe. He eventually found it necessary to flee his
homeland, immigrating to the United States in 1940, only after taking refuge in
Switzerland. Hindemiths body of work contains numerous works covering a myriad of
genres and styles. Among these, the Symphony in B-flat quickly became the landmark

Keith Polk, "The Wind Band: Its Literature and Technique Review," Notes 20, no. 1
(1962): 62.
6
Thomas C. Ferguson, An Analysis of Four American Symphonies for Band (PhD
diss., Eastman School of Music, 1971), 179-180.

composition of the wind band and proved to be the catalyst that changed the course of the
wind band genre as we know it today.
Prior to 1951, very few composers attempted symphonies for band and those who
were fortunate enough to have band symphonies performed, found little positive response
and the those were soon forgotten.7 Although Hector Berlioz composed his symphony for
band during the Romantic Era, it was not until 1951, when Paul Hindemith composed his
Symphony in B-flat for concert band, that symphony began to flourish for wind band. Not
only does the symphony form provide a challenge to the composer, but the performance
of a symphony also provides extensive musical and technical challenges to an ensemble
and its conductor.8
Given the success of the Hindemith symphony, it was not the symphony alone
that proved to be the tipping point for a rise in symphonic compositions for band after
1951. A perfect storm of events leading up to 1951, and shortly there after, all worked
in tandem to bolster the legitimization of the wind band as a serious artistic medium.
Franko Goldman along with the League of Composers commissioning project, the
availability of radio and the subsequent broadcasting of thousands of hours of music
weekly during the first half of the twentieth century, the Hindemith symphony itself, and
the creation of the Eastman Wind Ensemble all combined to strengthen the reputation of
the wind band to audiences and composers alike.
In 1948, a concert of contemporary music written for wind band was given in
New York City in honor of the seventieth birthday of Franko Goldman. Goldman was

7
8

Running, Annotated Bibliography, 2.

Richard Hanson, The American Wind Band (Chicago, Ill.: GIA Publications), 90-91.

one of Americas prominent band composers of the early twentieth century and founded
the renowned Goldman Band of New York City, a contemporary to the John Philip Sousa
Band. The League of Composers, a society founded in 1923 to produce the highest
quality performances of American composers in the United States and abroad, along with
the Goldman Band, held the concert on January 3rd in Carnegie Hall.9 Percy Graingers
Power of Rome and the Christian Heart (1948) was commissioned for this special
concert. Other selections performed were Tocatta Marziale (1924) by Ralph Vaughan
Williams, Suite Francaise (1945) by Darius Milhaud, and Theme and Variations, Op. 43a
(1943) by Arnold Schoenberg.10 This preeminent event featured the most esteemed
repertoire of the time by one of the countrys premier wind bands. As noted before, the
compositions performed were original band works of the highest quality available to the
wind band at the time. In 1949, Franko Goldman inaugurated the first regular series of
band compositions, initially awarded through the League of Composers, which later
became the American Band Association. The first composers engaged to the series
included Robert Russell Bennett, William Bergsma, Paul Creston, Vittorio Giannini,
Morton Gould, Howard Hanson, Peter Menin, Vincent Persichetti, Walter Piston, and
Virgil Thomson.11 With the inception of this project, most of Americas leading
composers were now writing for band, however, still composing works in short durations
and with an irregularity in compositional output.
Following World War II, American music and American wind band music were

Frederick Fennell, Time and the Winds; a Short History of the Use of Wind Instruments
in the Orchestra, Band and the Wind Ensemble (Kenosha, Wis.: G. Leblanc, 1954), 4.
10
Hanson, American Wind Band, 91.
11
Ibid.

flourishing because of several outcomes of the war. First, invaluable contributions were
made to the wind band by major immigrant composers who sought a safe haven to freely
express themselves in the United States, many of which were engaged by the League of
Composers and Franko Goldman.12 Additionally, there was an active embracing of
American art forms including jazz, visual arts, and the American wind band as social,
economic, educational, and technological forces all helped to produce this explosion.13
More and more talented and mature instrumental musicians were available than ever
before as they returned home after serving in American military bands during the war.
They enrolled in leading music schools in American colleges and universities or
performed in professional orchestras and military bands. By 1951, the National
Association of College Wind and Percussion Instructors was established to assist in the
evaluation of wind and percussion pedagogy in the United States. 14 1952 saw the
National Association of Secondary School Principals drawing up statements in support of
school music ensembles to rehearse during the school day and for music instructors to
offer private lessons to individual students. These factors helped to strengthen the
development of school, university, and military bands throughout the United States.15
American composers responded to this improved artistic climate for bands.
Vincent Persichetti composed Divertimento for Band in 1950 and stated, I simply started
writing music and the strings never entered.16 Persichettis orchestration created a
refreshing sound for the band. His music was sparse in texture and maintained clear

12

Hanson, American Wind Band, 92.

Ibid., 93
14
Ibid., 94.
15
Ibid.
16 Ibid.
13

color and timbre. Persichetti seldom used full band scoring, the percussion section was
more integral to the music, and he employed eloquent lyricism and rambunctious
rhythmic pointillism. Persichetti, President of the Juilliard School at the time,
championed works for band, as did other composes at Juilliard, including William
Schuman and Peter Mennin.17
In the 1950s, music thrived in a post-war American society that had become a
world power. The economy was strong and music industries increased their production
to a growing, appreciative public as a response to a way of life in the 1930s and 1940s.
The listening habits of the era were of families gathered around radios to hear the latest
news on the war and its accompanying uplifting music, much of which was patriotic
tunes and transcriptions of popular, orchestral works performed by wind bands.18 Those
listening habits in turn encouraged families to go to live concerts in the 1950s, which
became a vital part of American society. Statistically, more Americans went to concerts
in this decade than baseball games. By the mid 1950s, more that two hundred record
companies were established in the United States and over one hundred radio stations
were broadcasting a weekly total of 13, 795 hours of concert music.19
Paul Hindemith immigrated to the United States from Switzerland a few months
after the outbreak of World War II and was appointed to the music faculty at Yale
University in 1940.20 A representative of the United States Army Band in Washington
D.C. called on Hindemith in 1950, inviting him to be a guest conductor at one of their
17

Hanson, American Wind Band, 94.

Fennell, Time and the Winds, 5.
19
Hanson, American Wind Band, 93.
20
Arthur G. Browne, Paul Hindemith And The Neo-Classic Music, Music and Letters
13, no. 1 (1932): 43.
18

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concerts in February. Hindemith accepted the invitation but suggested that if his
appearance could be pushed back, he just might write a little something. 21 The revised
date was April 5, 1951, and this little something was the Symphony in B-flat for concert
band. This was the first of two symphonies Hindemith composed in 1951, the other being
Die Harmonic de Welt, which was a three movement sampler of an opera by the same
title he was beginning to compose. The composer conducted the premiere performance
in the Departmental Auditorium in Washington, D.C. 22
Hindemith served in the Germany Army Band during World War I. Echoes of
that experience are heard in his music in the form of marches, march rhythms, and march
parodies. In 1926, one of Hindemiths first compositions for winds was Concert Music
for Wind Orchestra, Op. 41, scored for an European military band. Since his only
experience was composing for European bands, Hindemith consulted with the Director of
Bands at Yale University, Keith Wilson, for advice on American band scoring.
Hindemith advanced orchestration techniques for the band. The composition is complex
contrapuntally and the dense composition can be constructed to take advantage of the
wide variety of instrumental colors available in the wind ensemble, both through
substantial solo writing and intriguing use of color and timbres. Hindemiths use of
orchestration was ground breaking in terms of the depth of sonority he achieved within
the ensemble and in his development of themes through the use of texture and numerous
solo exposures.23 The symphony is an excellent example of Hindemiths application of

Ferguson, Analysis, 180-182.

Ibid., 182.
23
Chris Sharp, A Study of Orchestration Techniques for the Wind Ensemble/Wind Band
as Demonstrated in Seminal Works (PhD diss., University of Florida, 2011), 179.
21
22

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compositional theory, using cyclic formal patters as a sort of motivic parallelism. The
cyclic nature of Hindemiths writing is included not only in the repetition of previous
material heard in each movement, but also in the return of earlier themes of the first and
second movements in the final movements. Cyclic processes are also seen in phrase
structures of the symphony with the end of phrases often repeating and mimicking the
beginning of the same or parallel phrases.24 All three movements of the symphony
include a simultaneous recapitulation of previous themes, an innovating concept brought
to the band repertoire and novel for symphonies of the time. The formal structure of the
symphony is classic in nature; the first movement in sonata-allegro form, the second
movement uses a basic song form, and the finale is a double fugue with a coda.
Movement three superimposes the expositions of a double fugue, bringing back the
expositions of the first movement at the end of the third. The themes are constructed
with organically woven motives heard throughout the symphony.25
Following the premier of Symphony in B-flat, the symphony gained instant
recognition as a masterpiece of its genre and has been regarded as a landmark work since
its inception. As one of the first symphonies composed specifically for band, Symphony
in B-flat is arguably the best. Some consider the symphony the bible of band
orchestration and most studied composition of the wind band repertoire.26 Frederick
Fennells 1954 book Time and the Winds discusses the significance of the Hindemith
symphony. Fennell states, Hindemiths Symphony in B-flat is an extremely valuable
contribution not only to band literature, but to the entire realm of music literature. It is a
24

Sharp, Study of Orchestration Techniques, 180-181.

Ibid., 182.
26
Hanson, American Wind Band, 95.
25

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major work in the mature style of one of the most important composers of the 20th
century.27
Given the premier of Hindemiths masterpiece, 1951 is the most significant year
in history of the wind band symphony. Hindemiths symphony established the symphony
for the band medium as a significant and valid form. Unlike many of the wind band
compositions written by noted composes of other media, this symphony ranks among
Hindemiths finest works regardless of genre and raised the bar for composers seeking to
write serious, extended works for the band.28 The symphony also brought the band
recognition and respect from a broader base of musicians, music critics, and conductors.29
As a result of the new art piece composed for band, symphonies written for band since
1951 are numerous and substantial in quality. Many prominent composers who had
relied on the orchestra as their compositional medium began writing music for wind band
and in most cases, these composers found the wind band more willing to perform new
music than the symphony orchestra.30
Persichetti wrote an article discussing Symphony in B-flat in 1964 for the Journal
of Band Research and insisted that, Band music is virtually the only kind of music in
American today, outside of pop music, which can be introduced, accepted, put into
immediate use, and become a staple of the literature in a short time. 31 This sentiment
may have been influenced in part by the ready acceptance of Hindemiths symphony.
Hindemiths timing could not have been better. With the post World War II boom in

27
28

Fennell, Time and the Winds, 6-7.

Sharp, Study of Orchestration Techniques, 212.
29
Running, Annotated Bibliography, 2.
30
Ibid., 3.
31 Fennell, Time and the Winds, 7.

13

college and public school band activity, there was a growing population of directions
hungry for well-crafted music for wind band. At the time of the symphony, Hindemith
enjoyed an established reputation in Europe and a growing one in the United States. The
fact that he had a regular publisher in place allowed him to meet the immediate demand
for the new work. In all aspects, Hindemith delivered. The symphony is still as popular
today as it was when it was first composed and is still regularly performed.32
The arrival of Frederick Fennell as the conductor of the Eastman Symphony Band
and Associate Conductor of Orchestras at the Eastman School of Music in Rochester,
New York was a final step in securing the legacy of the Hindemith symphony. Fennell
took a leap of imagination in regards to the creative environment in Americas musical
culture. Fennell felt as through the symphony band was a blind alley, static and not
producing musical results.33 Because of the large number of fantastic musicians
returning from wartime military bands and the number of outstanding female musicians
who held chairs at Eastman during the way, Fennell initiated the orchestral wind section
into its own performance ensemble with its own unique repertoire. This allowed
musicians to perform major repertoire one on a part, which simply sounded fantastic,
according to Fennell.34
February 8, 1952, the Eastman Wind Ensemble performed their debut concert in
Kilbourn Hall. The program included the Mozarts Serenade No. 10 in Bb, K. 370a,
Rieggers Nonet for Brass, and the Hindemith Symphony in B-flat.35 The concert
included works for woodwind choir, brass choir, and full ensemble at the conclusion of
32

Fennell, Time and the Winds, 7-8.

Ibid., 8.
34
Ibid.
35
Fennell, Time and the Winds, 8.
33

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the program.36 The repertoire the Eastman Wind Ensemble performed and the
corresponding artistry might be the most important sequence of events in the
advancement of the American wind band. Traditionally, American wind band performed
as large ensembles, following the traditions of the United States Marine Band, the Sousa
Band, and the Goldman Band. A small wind ensemble with members performing one on
a part was unheard of at the time and Fennell had plenty of naysayers who said he was
destroying the tradition of the band.37 The subsequent success of the inaugural concert
combined with the flawless artistry, put to rest any doubt on the direction Fennell was
headed with the Eastman Wind Ensemble. The clarity and artistry with which the
ensemble performed had never been so transparent in a wind band. The Hindemith
symphony is demanding for all instruments, and by including the Hindemith symphony at
this event, more than cemented its already growing popularity and secured its legacy.
Even today, the Hindemith symphony continues to be performed at major band events.
For example, the retirement concert of H. Robert Reynolds, one of the most esteemed
band conductors of our time, from the University of Michigan in 2001, and the first
webcast of a band in 1999 by the Arizona State University Symphonic Band, both
included the Hindemith symphony on the program.38
Composers took notice! The aforementioned events working in tandem solidified
the wind band as a viable medium readily available to composers. Enough symphonies
had been created by 1960 to more than reveal the possibilities of this genre. These multi
movement works for winds and percussion reveal a wide spectrum of approaches from

36

Richard Hanson, The American Wind Band (Chicago, Ill.: GIA Publications), 95.
Fennell, Time and the Winds, 8-9.
38
Ibid., 9.
37

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traditions to avant-garde. Hindemith is the most classical in nature and incorporates

traditional structures modified to fit the needs of the work, however others who followed
continued to explore the possibilities.39 The 1950s could accurately be labeled as the
decade of the American Band Symphony. Symphonies written the ten years following
the Hindemith symphony include: Symphony No. 4, (West Point) in 1952 by Morton
Gould; Symphony No. 6 by Vincent Persichetti in 1956; Symphony No. 3 by Vittorio
Giannini in 1958; and Hovhaness symphonies No. 4 (1958), No. 7 (Nanga Parvat), and
No. 14 (Ararat) in 1958, 1959, and 1961 respectively. The Gould, Persichetti, and
Giannini symphonies, all written in a classical formal structure, still receive considerable
play in band halls throughout the United States and are considered landmark repertoire
for the wind band. Hovhaness symphonies round out the explosion of the symphony in
the 1950s American band repertoire and are perhaps the most forward thinking
stylistically and structurally. Symphony No. 4 for Wind Orchestra Op. 165 (1958) and
Symphony No. 7 for Wind Orchestra Op. 178 (1960) were both premiered by the
American Wind Symphony of Pittsburg. 40 Hovhaness furthers the eminently respectable
cause of composing serious band music. The ensemble used for his symphonies double
the orchestra wind section, no doubt due to the adjustments and creation of the Eastman
Wind Ensemble as the nations premiere wind group. Both symphonies include three
short movements. They require highly skilled musicians and maintain colorful
instrumentation. Elaborate percussion passages include mallet features; pedal points and
pedal harmonies are prominent; richly ornamented solo melodies are repeated
throughout; oriental modal materials are presented in a Western tonal system; and serial
39
40

Ferguson, Analysis, 180-186.

Ibid., 4-10

16

techniques are used in modest fashion.41

Despite the advances of the genre and the contributions of famed composers to
the medium, there continue to be naysayers who reserve the serious aesthetic music for
orchestras and leave bands to performing potpourri concerts much like the Sousa,
Gillmore, and Fillmore Bands performed for the first half of the twentieth century.
Potpourri concerts traditionally include patriotic selections, transcriptions, solo works
with band accompaniment, and marches. Rarely do these concerts include original band
literature and to a large degree, the service bands continue on in this potpourri tradition. 42
In the 1960s, the Marine Band anniversary concert did not see an original composition of
band music played on the concert. Whitwell suggests the service bands travel the country
and play poor music, setting the stage for others to follow. In 1965, the New York
Philharmonic performed Berliozs Grande Symphonie Funbre et Triomphale, treating it
as a new work of music for a new genre.43
Despite the struggle with identity of wind bands, the quality of wind music has
risen substantially since the 1950s, as much is available in local stores and from music
publishers. With quality literature, programming for the concert band can attain integrity
to that equal of a symphony orchestra and result in the same aesthetic experience. In
order to achieve this lofty goal, conductors must strive to select the finest repertoire, for
only through immersion in music of lasting quality can educators then engage in aesthetic
41

Cecil Isaac, "Symphony No. 4 for Wind Orchestra, Op. 165 by Alan Hovhaness;
Symphony No. 7 (Nanga Parvat) for Wind Orchestra, Op. 178 by Alan Hovhaness;
Symphony of Winds for Narrator and Wind Orchestra by George Kleinsinger Review,"
Notes 19, no. 2 (1962): 329-330.
42
Hanson, American Wind Band, 95.
43
David Whitwell, "The College Band: Can It Escape Its Heritage?" Music Educators
Journal 51, no. 6 (1965): 57.

17

experience of breadth and depth.44 A perfect example of this occurred at a concert at

Oshkosk High School, Wisconsin, in 1969. The audience was full of blue-collar people
who worked in the heart of paper-mill country. Before the performance, the regular
conductor, James Croft, talked to the members of the audience about the piece and the
bands dedication and preparation of it. Parents were reminded that students grew
considerably because of the concentrated time and energy it took to understand and
master the musical and technical demands. Croft then asked the audience to share in the
project by attentive listening. At the conclusion of the performance of Hindemiths
symphony, the blue-collar audience rose to a thunderous ovation.45
Hindemith forever changed the path of the American wind band. Symphony in Bflat established the wind band as a viable medium, made the symphony as a genre
accessible to the wind band, and advanced the symphony, as an orchestral or wind work,
with his innovations. Given the success of the Hindemith symphony and the perfect
storm of events leading up to its premiere in1951, all to bolstered the reputation of the
wind band and ushered in a new era of compositional output and mission for the wind
band.

44

H. Robert Reynolds, Repertoire Is the Curriculum. Music Educators Journal 87, no.
1 (2000): 31-33.
45
Ibid., 33.

18

BIBLIOGRAPHY
Battisti, Frank L. The Twentieth Century American Wind Band/ensemble: History, Development
and Literature. Fort Lauderdale, Fla.: Meredith Music, 1995.
Battisti, Frank L. The Winds of Change: The Evolution of the Contemporary American Wind
Band/ensemble and Its Conductor. Galesville, MD: Meredith Music Publications, 2002.
Browne, Arthur G. "Paul Hindemith And The Neo-Classic Music." Music and Letters 13, no. 1
(1932): 42-58.
Fennell, Frederick. Time and the Winds; a Short History of the Use of Wind Instruments in the
Orchestra, Band and the Wind Ensemble. Kenosha, Wis.: G. Leblanc, 1954.
Ferguson, Thomas C. An Analysis of Four American Symphonies for Band. PhD diss.,
Eastman School of Music, 1971.
Goldman, Richard Franko. The Band's Music. New York: Pitman Pub., 1938.
Hansen, Richard K. The American Wind Band: A Cultural History. Chicago, Ill.: GIA
Publications, 2005.
Hindemith, Paul. Symphony in B-Flat. New York, NY. B. Schott Music. 1951.
Isaac, Cecil. "Symphony No. 4 for Wind Orchestra, Op. 165 by Alan Hovhaness; Symphony No.
7 (Nanga Parvat) for Wind Orchestra, Op. 178 by Alan Hovhaness; Symphony of Winds for
Narrator and Wind Orchestra by George Kleinsinger Review." Notes 19, no. 2 (1962): 329-30.
Polk, Keith. "The Wind Band: Its Literature and Technique Review." Notes 20, no. 1 (1962): 6263.
Reynolds, H. Robert. "Repertoire Is the Curriculum." Music Educators Journal 87, no. 1 (2000):
31-33.
Running, Timothy C. An Annotated Bibliography of Symphonies for Band to 1989. DA diss.,
University of Northern Colorado, 1991.
Stedman, Preston. The Symphony. Englewood Cliffs, N.J.: Prentice-Hall, 1979.
Whitwell, David. The College and University Band: An Anthology of Papers from the
Conferences of the College Band Directors National Association, 1941-1975. Reston, Va.: Music
Educators National Conference, 1977. 4.
Whitwell, David. "The College Band: Can It Escape Its Heritage?" Music Educators Journal 51,
no. 6 (1965): 57.
Young, Derald De. "Music Literature for Band and Wind Ensembles." Music Educators Journal
64, no. 4 (1977): 26-29.