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A Graduate conducting recital

University of Florida Institutional Repository UFAFA

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1 A GRADUATE CONDUCTING RECITAL By MEGAN KAY HERMANN A PERFORMANCE IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLO RIDA 2010

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2 A Graduate Recital Megan Kay Hermann, Conductor Program Old Wine in New Bottles Gordon Jacob (1895 1984) III. Begone, Dull Care IV. Early One Morning The Solitary Dancer Warren Benson (1924 2005) Santa Fe Saga Morton Gould (1913 1996) Pas Redoubl Camille Saint Sens/trans. Arthur Frackenpohl (1835 1921 )

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3 Old Wine in New Bottles Gordon P ercival Septimus Jacob (1895 1984) is regarded as one of the most significant British composers of the twentieth century. Jacob began studying piano at the age of eight and began composing shortly after he started piano lessons. From 1908 to 1914, h e att ended D ulwich College where he studied the classics continued his piano lessons and played timpani and other percussion instruments in the school orchestra. Jacob served as a Lieutenant in the Queens Royal West Surrey Regiment during World War I. In 1917 he was taken prisoner by the Germ ans near Arras, and there he met other musicians and began arranging and writing music for the small group. After his return home from the war, Jacob enrolled in a school fo r journalism, but continued to work on his c ompositions. He soon applied for the Royal College of Mus ic and was accepted in April 1920. There he studied composition with his primary teacher Sir Charles Villiers Stanford as well as Ralph Vaughan Williams and Herbert Howells. Jacob also studied c onducting and piano. William Byrd Suite ( in 1923 ), followed by a ballet titled The Jew and the Harp. After he graduated from the Royal College of Music, he was appointed to the faculty. Jacob m arried his childhood s weetheart, Sydney Wilmot Grey, in 1924 and shortly after he began to seriously pursue his composition career.

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4 sic from 1924 to the 1950s comprised of orchestral works, concertos and solos for every stringed instrument and most of th e orchestral wind instruments, and a variety of chamber music. Jacob also composed music for documentaries during World War II, and also for the feature film Esther Waters ( in 1948 ). Jacob contributed several written works including Orchestral Technique: A Manual for Students (1931), followed by How to Read A Score, The Composer and His Art, and The Elements of Orchestration After the untimely death of his first wife, Jacob married Margaret Gray, a niece of his first wife and for ty two years younger tha n Jaco b. The couple had two children: Ruth (June 2, 1960) and David (born in 1961). Gordon Jacob officially retired from the Royal College of Music in 1967, but continued to devote his life to music and composing. In 1971, Jacob ventured to the United S tates for the premiere of his Trombone Concertino, which was commissioned by the International Trombone Associat ion. The visit caused him to gain a new interest in his compositions for wind instruments in the United States and resulted in several commissi oned works, including the march Across the Sea, w ritten for the U.S. Coast Guard; and Celebration Overture, commissioned by Harvard University and first performed November 2, 1984. Gordon Jacob died on June 8, 1984 in Saffron Walde n, England, after a mas sive stroke. Old Wine in New Bottles was complete in August 1958 and was first performed by the BBC Northern Orchestra on April 4, 1959 at the St. Bees Festival under the direction of Stanford Robinson. Old Wine includes four old Englis h folk tunes; New Bottles

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5 The tunes ar Care The Solitary Dancer Warren Frank Benson is a distinguished composer, conductor, lecturer, and writer. taught pianist and helped 1932 ( at age eight ), when he started taking percussion lessons with Gerry Gerard. At age twelve he began taking private marimba and drum lessons with Selwyn Alvey During his years in hi gh school, he developed his skills on several different instruments and also took an orchestration class. He enrolled a t the University of Michigan, where he music theory i n 1951. Benson married Patricia Vander Velde, who had graduated in art from the University of Michigan, on November 19, 1949. He received a Fulbright scholarship for ( 1950 to 1952 ) to conduct and teach music at Anatolia College in Salonika, Greece. He returned from Greece in 1952 to serve as the Director of Bands and Orchestra at Mars Hill College in North Carolina. Benson held the position of professor of music and composer in residence at Ithaca College (Cornell, New York) for fourteen years and taug ht composition at Eastm an from 1967 to 1994. Benson was self taught in

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6 composition and has written over 150 works for solo instruments and voice, chamber ensembles, choirs, bands, and orchestras. He has written for most genres, except for opera, and is b est known for his song cycles and his wind and percussion music The Solitary Dancer evolved from the ballet Bailando a collaboration between Warren Benson and Interlochen Arts Academy choreographer Bill Hugg. During this experience, Benson noted the danc e rehearsal began. Benson wrote a note in the score: The Solitary Dancer deals with quiet, poised energy The composition is a through composed work in d phrygian. The two themes prevalent throughout the piece are presented in the first two measures. Th e first theme is a melodic four note motive presented by the soprano saxophone (which is a predominant voice throughout the composit ion). The second the me is a two note rhythmic motive presented by the piccolo. The melodic language that follows is developed from inversions, augmentations, and combinations of these two motives. Much of the work is dependent on quiet soloistic playing over a percussion osti nato. Santa Fe Saga Morton Gould was born in Richmond Hill, New York on December 10, 1913. He began playing piano an d composing when four years old; his first composition was published at the age of six (titled Just Six) ; and he won a scholarship to the Institute of Musical Art at the age of eight. Most of his musical studies were with Abby Whiteside and Dr. Vincent Jones. During the Great D epression, Gould worked in New York City

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7 playing piano in movie theaters, as well as with vaudeville acts. When Radio City Music Hall opened, Gould became the staff pianist. At the age of twenty one, he conducted and arranged a weekly series of orchestral radio programs for WOR Mutual Radio He has composed for musical comedy, television, and motion pictures; his ballet scores include those for Jerome Robbins, George Blanchine and Agnes de Mille. His other compositions for band include American Salute, Ballad for Band, and his Symphony for Band West Point Symphony. Gould has conducted all of the major American or chestr as as well as those of Canada, Mexico, Europe, Japan, and Australia and won a Grammy First Symphony with the Chicago Symphony Orchestra. In 1995, he received the Pulitzer Prize for Stringmusic, a piec e commissioned by the National Symphony in recognition of the final season of director Mstislav Rostropovich. Gould died February 21, 1996, at the age of 82 in Orlando, Florida. The evening before his death he attended a concert by the U.S. Military Aca demy Band which performed all Gould compositions. Santa F Saga was commissioned by the famous bandmaster and march composer Edwin Franko Goldman for performance at the 1956 convention of the American Bandmasters Association, held in Santa F, New Mexico Gould himself conducted the appropriate to compose a piece evoking that area and its hi story. The work is in four brief interlinked sections; they are not separate movements, but do bear individual titles:

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8 describes as a general Spanish Mexican Western influence on our music. Pas Redoubl Paris born Charles Camille Saint Sans was a child prodigy, composing his first piece for piano at the age of three. He studied with Stamaty and Boly before entering the Paris Con servatory in 1848 and studied organ with Benos it. He won the premier prix in 1851, and in the same year began studying composition and orchestration with Halvy. Camille also took lessons in accompaniment and singing and w as a private student of Gounod. Saint Sans had total recall; any book he re ad or tune he heard was f orever committed to his memory. He held the coveted post of organist at the Madeleine from 1857 to 1875. He was also an accomplished pianist, conductor, score reader, and astronomer. As a composer, he wrote in many genres, inclu ding opera, symphonies, concertos, sacred and secular choral music, concertos, and chamber music. His highly popular works, including Danse macabre (1875) and Samson and Delilah were written during a short and tragic marriage to nineteen year old Marie L aure Truffot that included the loss of his two young sons within a period of six weeks. The Carnival of the Animals is a favorite of children of all ages, but it had only two performances while Saint Sans was alive, possibly because he had written it as a parody of some of the popular music of the time. Saint Sans died in December 1921 after he had closed his conducting career with rehearsals for Antigone in August and had returned to Algiers. The perspective of history shows him as a neo classicist a nd as the embodiment of certai n traditional French

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9 qualities moderation, logic, c larity, balance and precision that were coming back into fashion at the turn of the 20th century This quickstep concert march (Opus 8 6) is reminiscent of the gallops by Offenbach and other 19th century composers. Originally written for four hand piano in 1887 and published in 1890, this transcription was made by Arthur Frackenpohl in 1972 and dedicated to Harry Phillips and the Crane W ind Ensemble at the State University in Potsdam, New York, where Frackenpohl became a member of the music faculty in 1949. The tempo of a pas redouble varies with the proficiency of the performer(s) as well as the wishes of the composer and the customs of that period. Saint Saens defended technical virtuosity, because it was for him, at least partially, a gift. During the mid 19th century, military units in some nations were marching to a cadence of about 90 steps per minute for the slow march (pas ordinair e), 120 for the quick march (pas redouble), and 160 to 180 for the double quick march (pas de charge). Frackenpohl suggest a tempo of 144 for this march.

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10 REFERENCES Goodman, Peter W. Morton Gould: American Salute Portland, Or: Amadeus Press, 2000. Grove Music Online ed. L. Macy (Accessed March 29, 2010). < http://www.grovemusic.com > New York: Oxford University Press, 2007 2010. Grove Music Online ed. L. Macy (Accessed March 29, 2010). New York: Oxford University Press, 2007 2010. Wagner, Alan D. A Bio Bibliography of Composer Warren Benson Studies in the history and interpretation of music, v. 111. Lewiston, N.Y.: Edwin M ellen Press, 2005.

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11 Grove Music Online ed. L. Macy (Accessed March 28, 2010). New York: Oxford University Press, 2007 2010. A BIOGRAPHICAL SKETCH s degree in music e ducation from Tennessee Technological University in May 2004. During her tenure at Tennessee Tech, Miss Hermann served in several leadership positions including drum major and member of the undergraduate staff for the Golden Eagle March ing Band, principal oboist of the Tennessee Tech Symphony Band and Wind Ensemble, President of Kappa Delta Pi, President of the Newman Campus Ministry, Vice President of Public Relations for Kappa Delta and senator for the Student Government Association. Miss Hermann has been recorded with saxophone soloist James Spinazzola and the Tennessee Tech Wind Ensemble on the album Discovery: Emerging and Celebrated Repertoire for Solo

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12 Saxophone and Band Vol. 1 and also with tuba soloist Timothy Northcut and the Tennessee Tech Symphony Band on the album entitled Tennessee Tech Pride. While attending Tennessee T ech, Miss Hermann achieved the d ean ist all four years and graduated magna cum laude. In summer 2004, Miss Hermann moved to West Des Moin es, Iowa, wher e she served in the West Des Moines Community School District at Clive and Hillside Elementary Schools as the Band Director for the 5th and 6th Grade. She conducted the Northside 6th Grade Band, which included four district schools; and the Eighth S treet 5 th Grade Band. In May 2005, she was asked to conduct the 6th Grade District All Star band which consisted of students from all eight elementary schools in the West Des Moines school system. During the summer of 2006, Miss Hermann moved to Cleveland, Tennes see, and began work as the Assistant Band Director for Walker Valley High School. She conducted the Wind Ensemble, the Symphonic Band, the 9th Grade Band, the Woodwind Ensemble, and the Mustang Marching Band. She also assisted with the choir program and pl Footloose and Beauty and the Beast. Miss Hermann is affiliated with several professional organizations including the Delta P i, the Tennessee Music Educator s Association, the East Tennessee Band and Orchestra Association, the National Band Association, the Tennessee Education

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13 Association, the Bradl ey County Education Association, the Florida Bandmasters Association, the F lorida Music Educators Association, and the Mortar Board National Honor Society.


Permanent Link: http://ufdc.ufl.edu/UF00100546/00001

Material Information

Title: A Graduate conducting recital
Physical Description: Book
Language: English
Creator: Hermann, Megan Kay
Publisher: College of Fine Arts, University of Florida
Place of Publication: Gainesville, Fla.
Publication Date: 2010
Copyright Date: 2010

Notes

Acquisition: Instrumental Conducting terminal project

Record Information

Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: Permissions granted to the University of Florida Institutional Repository and University of Florida Digital Collections to allow use by the submitter. All rights reserved by the author.
System ID: UF00100546:00001

Permanent Link: http://ufdc.ufl.edu/UF00100546/00001

Material Information

Title: A Graduate conducting recital
Physical Description: Book
Language: English
Creator: Hermann, Megan Kay
Publisher: College of Fine Arts, University of Florida
Place of Publication: Gainesville, Fla.
Publication Date: 2010
Copyright Date: 2010

Notes

Acquisition: Instrumental Conducting terminal project

Record Information

Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: Permissions granted to the University of Florida Institutional Repository and University of Florida Digital Collections to allow use by the submitter. All rights reserved by the author.
System ID: UF00100546:00001

Full Text









A GRADUATE CONDUCTING RECITAL


By

MEGAN KAY HERMANN





A PERFORMANCE IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE
ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC



UNIVERSITY OF FLORIDA


2010












A Graduate Recital
Megan Kay Hermann, Conductor



Program


Old Wine in New Bottles


III. Begone, Dull Care
IV. Early One Morning


The Solitary Dancer


Gordon Jacob
(1895-1984)


Warren Benson
(1924-2005)


Santa Fe Saga


Morton Gould
(1913-1996)


Pas Redoubl6


Camille Saint-Saens/trans. Arthur Frackenpohl
(1835-1921)













Old Wine in New Bottles

Gordon Percival Septimus Jacob (1895-1984) is regarded as one of the most

significant British composers of the twentieth century. Jacob began studying piano at the

age of eight and began composing shortly after he started piano lessons. From 1908 to

1914, he attended Dulwich College, where he studied the classics, continued his piano

lessons, and played timpani and other percussion instruments in the school orchestra.

Jacob served as a Lieutenant in the Queens Royal West Surrey Regiment during World

War I. In 1917 he was taken prisoner by the Germans near Arras, and there he met other

musicians and began arranging and writing music for the small group. After his return

home from the war, Jacob enrolled in a school for journalism, but continued to work on

his compositions. He soon applied for the Royal College of Music and was accepted in

April 1920. There he studied composition with his primary teacher, Sir Charles Villiers

Stanford, as well as Ralph Vaughan Williams and Herbert Howells. Jacob also studied

conducting and piano. One of Jacob's earliest works was the William Byrd Suite (in

1923), followed by a ballet titled The Jew and the Harp. After he graduated from the

Royal College of Music, he was appointed to the faculty. Jacob married his childhood

sweetheart, Sydney Wilmot Grey, in 1924 and shortly after he began to seriously pursue

his composition career.









A majority of Jacob's music from 1924 to the 1950s comprised of orchestral

works, concertos and solos for every stringed instrument and most of the orchestral wind

instruments, and a variety of chamber music. Jacob also composed music for

documentaries during World War II, and also for the feature film Esther Waters (in

1948). Jacob contributed several written works including Orchestral Technique: A

Manual for Students (1931), followed by How to ReadA Score, The Composer and His

Art, and The Elements of Orchestration. After the untimely death of his first wife, Jacob

married Margaret Gray, a niece of his first wife and forty-two years younger than Jacob.

The couple had two children: Ruth (June 2, 1960) and David (born in 1961). Gordon

Jacob officially retired from the Royal College of Music in 1967, but continued to devote

his life to music and composing. In 1971, Jacob ventured to the United States for the

premiere of his Trombone Concertino, which was commissioned by the International

Trombone Association. The visit caused him to gain a new interest in his compositions

for wind instruments in the United States and resulted in several commissioned works,

including the march Across the Sea, written for the U.S. Coast Guard; and Celebration

Overture, commissioned by Harvard University and first performed November 2, 1984.

Gordon Jacob died on June 8, 1984, in Saffron Walden, England, after a massive stroke.

Gordon's piece Old Wine in New Bottles was complete in August 1958 and was

first performed by the BBC Northern Orchestra on April 4, 1959, at the St. Bees Festival,

under the direction of Stanford Robinson. Old Wine includes four old English folk tunes;

New Bottles is Jacob's inventive arrangements and orchestration for 12 wind instruments.

4









The tunes are: "The Wraggle Taggle Gypsies," "The Three Ravens," "Begone, Dull

Care," and "Early One Morning."





The Solitary Dancer

Warren Frank Benson is a distinguished composer, conductor, lecturer, and writer.

He was born in Detroit, Michigan, on January 26, 1924. Benson's father had no musical

ability, but fully supported Warren's pursuits in music. His mother was a self-taught

pianist and helped foster Benson's love for music. His formal music training began in

1932 (at age eight), when he started taking percussion lessons with Gerry Gerard. At age

twelve he began taking private marimba and drum lessons with Selwyn Alvey. During

his years in high school, he developed his skills on several different instruments and also

took an orchestration class. He enrolled at the University of Michigan, where he

completed his Bachelor's of Music in Music Theory in 1949 and a master's degree in

music theory in 1951. Benson married Patricia Vander Velde, who had graduated in art

from the University of Michigan, on November 19, 1949. He received a Fulbright

scholarship for (1950 to 1952) to conduct and teach music at Anatolia College in

Salonika, Greece. He returned from Greece in 1952 to serve as the Director of Bands and

Orchestra at Mars Hill College in North Carolina. Benson held the position of professor

of music and composer-in-residence at Ithaca College (Comell, New York) for fourteen

years and taught composition at Eastman from 1967 to 1994. Benson was self-taught in

5









composition and has written over 150 works for solo instruments and voice, chamber

ensembles, choirs, bands, and orchestras. He has written for most genres, except for

opera, and is best known for his song cycles and his wind and percussion music.

The Solitary Dancer evolved from the ballet Bailando, a collaboration between

Warren Benson and Interlochen Arts Academy choreographer Bill Hugg. During this

experience, Benson noted the dancers' attention to the music before rehearsal began.

Benson wrote a note in the score: "The Solitary Dancer deals with quiet, poised energy

that one may observe in a dancer in repose, alone with her inner music." The

composition is a through-composed work in d phrygian. The two themes prevalent

throughout the piece are presented in the first two measures. The first theme is a melodic

four-note motive presented by the soprano saxophone (which is a predominant voice

throughout the composition). The second theme is a two-note rhythmic motive presented

by the piccolo. The melodic language that follows is developed from inversions,

augmentations, and combinations of these two motives. Much of the work is dependent

on quiet soloistic playing over a percussion ostinato.

Santa Fe Saga

Morton Gould was born in Richmond Hill, New York, on December 10, 1913. He

began playing piano and composing when four years old; his first composition was

published at the age of six (titled Just Six); and he won a scholarship to the Institute of

Musical Art at the age of eight. Most of his musical studies were with Abby Whiteside

and Dr. Vincent Jones. During the Great Depression, Gould worked in New York City,

6









playing piano in movie theaters, as well as with vaudeville acts. When Radio City Music

Hall opened, Gould became the staff pianist. At the age of twenty-one, he conducted and

arranged a weekly series of orchestral radio programs for WOR Mutual Radio. He has

composed for musical comedy, television, and motion pictures; his ballet scores include

those for Jerome Robbins, George Blanchine and Agnes de Mille. His other

compositions for band include American Salute, Ballad for Band, and his Symphony for

Band- West Point Symphony. Gould has conducted all of the major American orchestras

as well as those of Canada, Mexico, Europe, Japan, and Australia and won a Grammy

award in 1966 for his recording of Charles Ives' First Symphony with the Chicago

Symphony Orchestra. In 1995, he received the Pulitzer Prize for Stringmusic, a piece

commissioned by the National Symphony in recognition of the final season of director

Mstislav Rostropovich. Gould died February 21, 1996, at the age of 82 in Orlando,

Florida. The evening before his death, he attended a concert by the U.S. Military

Academy Band, which performed all Gould compositions.

Santa Fe Saga was commissioned by the famous bandmaster and march composer

Edwin Franko Goldman for performance at the 1956 convention of the American

Bandmasters Association, held in Santa F6, New Mexico. Gould himself conducted the

premiere there on March 9 of that same year. "Because the meeting was held in Santa

Fe," he recalls, "and Santa F6 having charisma, climate and character, it seemed

appropriate to compose a piece evoking that area and its history. The work is in four

brief interlinked sections; they are not separate movements, but do bear individual titles:

7









"Rio Grande," "Round-up," Wagon Train," and "Fiesta." All represent what Gould

describes as a general Spanish-Mexican-Westem influence on our music.

Pas Redoubld

Paris-bor Charles Camille Saint-Saens was a child prodigy, composing his first

piece for piano at the age of three. He studied with Stamaty and Boely before entering

the Paris Conservatory in 1848, and studied organ with Benosit. He won the premier prix

in 1851, and in the same year began studying composition and orchestration with Hal6vy.

Camille also took lessons in accompaniment and singing, and was a private student of

Gounod. Saint-Saens had total recall; any book he read or tune he heard was forever

committed to his memory. He held the coveted post of organist at the Madeleine from

1857 to 1875. He was also an accomplished pianist, conductor, score reader, and

astronomer. As a composer, he wrote in many genres, including opera, symphonies,

concertos, sacred and secular choral music, concertos, and chamber music. His highly

popular works, including Danse macabre (1875) and Samson and Delilah, were written

during a short and tragic marriage to nineteen year old Marie-Laure Truffot that included

the loss of his two young sons within a period of six weeks. The Carnival of the Animals

is a favorite of children of all ages, but it had only two performances while Saint-Saens

was alive, possibly because he had written it as a parody of some of the popular music of

the time. Saint-Saens died in December 1921 after he had closed his conducting career

with rehearsals for Antigone in August and had returned to Algiers. "The perspective of

history shows him as a neo-classicist and as the embodiment of certain traditional French

8









qualities moderation, logic, clarity, balance and precision that were coming back into

fashion at the turn of the 20th century" (Ratner, www.oxfordmusiconline.com).

This quickstep concert march (Opus 86) is reminiscent of the gallops by

Offenbach and other 19th century composers. Originally written for four-hand piano in

1887 and published in 1890, this transcription was made by Arthur Frackenpohl in 1972

and dedicated to Harry Phillips and the Crane Wind Ensemble at the State University in

Potsdam, New York, where Frackenpohl became a member of the music faculty in 1949.

The tempo of a pas redouble varies with the proficiency of the performers) as well as the

wishes of the composer and the customs of that period. Saint-Saens defended technical

virtuosity, because it was for him, at least partially, a gift. During the mid-19th century,

military units in some nations were marching to a cadence of about 90 steps per minute

for the slow march (pas ordinaire), 120 for the quick march (pas redouble), and 160 to

180 for the double-quick march (pas de charge). Frackenpohl suggest a tempo of 144 for

this march.





























REFERENCES

Goodman, Peter W. Morton Gould: American Salute. Portland, Or: Amadeus Press,

2000.

Matthew, Ed: 'Gould, Morton', Grove Music Online ed. L. Macy (Accessed March 29,

2010). New York: Oxford University Press,

2007-2010.

Ratner, Sabina Teller: 'Saint-Saens, Camille', Grove Music Online ed. L. Macy

(Accessed March 29, 2010). New York: Oxford

University Press, 2007-2010.

Wagner, Alan D. A Bio-Bibliography of Composer Warren Benson. Studies in the history

and interpretation of music, v. 111. Lewiston, N.Y.: Edwin Mellen Press, 2005.









Wetherell, Eric: 'Jacob, Gordon', Grove Music Online ed. L. Macy (Accessed March

28, 2010). New York: Oxford University Press,

2007-2010.



















A BIOGRAPHICAL SKETCH


Megan Hermann received her bachelor's degree in music education from

Tennessee Technological University, in May 2004. During her tenure at Tennessee Tech,

Miss Hermann served in several leadership positions including drum major and member

of the undergraduate staff for the Golden Eagle Marching Band, principal oboist of the

Tennessee Tech Symphony Band and Wind Ensemble, President of Kappa Delta Pi,

President of the Newman Campus Ministry, Vice President of Public Relations for Kappa

Delta, and senator for the Student Government Association. Miss Hermann has been

recorded with saxophone soloist James Spinazzola and the Tennessee Tech Wind

Ensemble on the album "Discovery: Emerging and Celebrated Repertoire for Solo
11









Saxophone and Band Vol. 1" and also with tuba soloist Timothy Northcut and the

Tennessee Tech Symphony Band on the album entitled "Tennessee Tech Pride." While

attending Tennessee Tech, Miss Hermann achieved the dean's list all four years and

graduated magna cum laude.

In summer 2004, Miss Hermann moved to West Des Moines, Iowa, where she

served in the West Des Moines Community School District at Clive and Hillside

Elementary Schools as the Band Director for the 5th and 6th Grade. She conducted the

Northside 6th Grade Band, which included four district schools; and the Eighth Street 5th

Grade Band. In May 2005, she was asked to conduct the 6th Grade District All Star band

which consisted of students from all eight elementary schools in the West Des Moines

school system.

During the summer of 2006, Miss Hermann moved to Cleveland, Tennessee, and

began work as the Assistant Band Director for Walker Valley High School. She

conducted the Wind Ensemble, the Symphonic Band, the 9th Grade Band, the Woodwind

Ensemble, and the Mustang Marching Band. She also assisted with the choir program and

played piano for the Fine Arts Department production's of Footloose and Beauty and the

Beast.

Miss Hermann is affiliated with several professional organizations including the

Music Educator's National Conference, the International Double Reed Society, Kappa

Delta Pi, the Tennessee Music Educators Association, the East Tennessee Band and

Orchestra Association, the National Band Association, the Tennessee Education

12









Association, the Bradley County Education Association, the Florida Bandmasters

Association, the Florida Music Educators Association, and the Mortar Board National

Honor Society.