Joe Busuito Master's Recital

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• published: 13 May 2015
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This is the playing portion of my lecture/recital with Western Michigan University's Symphonic Band. The project was called "Antebellum and Its Affect on the Modern Wind Band." The musical program is the sonic representation of the research presented in my final paper. I've included some of my justifications below: American Salute - Morton Gould, trans. Philip Lang The original marching song, "When Johnny Comes Marching Home," was conceived and popularized by the band leader, Patrick S. Gilmore (under the pseudonym Louis Lambert). An Irish immigrant and cornetist, Gilmore became one of America's most popular brass band leaders during Antebellum, and would go on to earn the distinction of being "The Father of the American Concert Band." In 1942, Morton Gould used the aforementioned song as the basis for a patriotic theme and variations. The piece was written in a night, and was one of many he wrote for radio broadcasts during WWII. Chester - William Schuman This theme and variations is based on the popular Revolutionary hymn by the same name, written by William Billings. Though this song was first popularized well before Antebellum, it became a cornerstone of the shape-note tradition that flourished in the years leading up to the Civil War. Lowell Mason, who is largely responsible for establishing music as a curricular subject in America's first public schools, led a crusade against the shape-note tradition , which consisted of original American songs, in favor of what he deemed "better music," which consisted of European art music. Foster's America, mvt. 2 "Beautiful Dreamer" - David Gillingham Stephen Foster is generally considered the father of the American popular song. Through today's lens, Foster's portrayals of American life during Antebellum are often considered derogatory and inflammatory. But the essence of his songs: their simple, transportable, and "catchy" nature, is a defining characteristic in many of today's popular songs in America. Gillingham's realization of these late Foster songs is one of many examples of how effective their use can be in a modern artistic composition. Finale from the Second Symphony - Charles Ives, trans. Jonathan Elkus The second symphony is one of the first instances of popular songs being used as the basis for a classical composition. Ives, largely influenced by the songs he learned from his father, frequently used a variety of Antebellum songs (popular songs, fiddle tunes, camp songs, military marches/calls, etc.) in his pieces. The second symphony makes use of several popular Antebellum melodies that are often heavily disguised and juxtaposed. The final movement, transcribed for band the same year the piece was premiered, essentially ties the symphony together. My sincerest thank yous go to WMU, my committee members: Drs. Scott Boerma, David Montgomery, and Alexander Cannon, the members of the Symphonic Band, and the composers who have given us these fine pieces. Thank you all!