Award Date


Degree Type


Degree Name

Doctor of Musical Arts (DMA)



First Committee Member

Thomas G. Leslie

Second Committee Member

Tony LaBounty

Third Committee Member

Cheryl Taranto

Fourth Committee Member

Timothy Jones

Fifth Committee Member

Nate Bynum

Number of Pages



This document illustrates how specific educational objectives can be met in the wind band rehearsal through the selection, transcription, and arrangement of the Vierzehn Deutsche Volkslieder, WoO 34, Nos. 1-14 by Johannes Brahms. It further defines the pedagogical appropriateness of these works and their transcriptions by outlining the educational goals that they accomplish.

The resulting wind band transcriptions and arrangements, for use at the secondary and post-secondary levels, are presented in two formats. The first is a convertible transcription where each instrumental part contains transpositions of all of the original vocal parts making it adaptable for various combinations of instruments. The second format is a wind band adaptation of each piece arranged for choirs of like instruments, soloists, and percussion.

The pedagogical objectives used to select the Vierzehn Deutsche Volkslieder for transcription include: (1) increasing sight-reading accuracy on simple melodic and rhythmic material, (2) developing proper

tuning and balance using triadic harmony, (3) increasing control of dynamics, (4) addressing the placement and length of breaths, (5) developing an awareness of phrasing as it relates to melodic direction and underlying harmonic content, (6) improving specific articulations including slurs, staccatos, and accents, and (7) refining the tapered breath release. The accompanying wind band transcriptions and arrangements provide a resource to help accomplish these educational objectives.

The Vierzehn Deutsche Volkslieder, WoO 34, Nos. 1-14 were originally conceived for pedagogical purposes and consist primarily of homophonic four and five part textures. The technical simplicity of the works makes them perfect for developing basic sight-reading skills with mostly diatonic harmonies and rhythms typically limited to whole, half, quarter, and eighth-notes. Additionally, the key signatures, F-major, G-minor, and Ab-major, are readily accepted as the earliest and most common key signatures used in the wind band repertoire.

The use of triadic harmony facilitates the discussion of proper tuning and balance for major and minor chords. Also, uniform phrase lengths allow breath placement to occur at regular intervals. This allows young musicians to focus on other aspects of proper breathing such as release points, length of breaths, and attacks. Finally, Brahms's inclusion of articulations and dynamics in each work makes rehearsal of these concepts more accessible in the wind band setting.

The Vierzehn Deutsche Volkslieder, WoO 34, Nos. 1-14 were selected for transcription and arrangement because they fulfill the aforementioned pedagogical objectives. In short, these works develop literacy and fundamentals in the large ensemble setting, and provide a measurable curricular resource as well as an aesthetic addition to the repertoire.


Arrangement (Music); Bands (Music); Brahms; Johannes; 1833-1897; Deutsche Volkslieder; WoO 34; Folksong; Music rehearsals; Transcription; Wind instruments


Music | Music Education | Music Pedagogy | Music Performance | Music Practice

File Format


Degree Grantor

University of Nevada, Las Vegas




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