Authentic Performance of Wind Band Transcriptions

The purpose of this document is to examine five representative wind band transcriptions (a 19th century orchestral work, a 20 th century orchestral work, an operatic excerpt, a 20th century choral work, and a 19th century choral work), with regard to how they relate to their original form, and how a performance of the transcription may be influenced by close study of the source material. Using Finale from Symphony No. 9 by Antonín Dvorák transcribed by Mark Hindsley, Danzón No. 2 by Arturo Marquez transcribed by Oliver Nickel, Elsa\u27s Procession to the Cathedral by Richard Wagner transcribed by Lucien Cailliet, Sanctus: London by Ola Gjeilo transcribed by Eric Wilson, and Johannes Brahms Blessed Are They transcribed by Barbara Buehlman, the document will identify what modifications have been made by the transcriber specifically in relation to form, thematic content, orchestration, tonal centers and relationships. Additionally, the study will present the ways in which bowings, ornamentation, textual considerations (ways in which key phrases are often presented or executed), and other key performance practices associated with the original work may influence a wind band performance of the transcription