Doctor of Musical Arts (DMA)
First Committee Member
Second Committee Member
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Number of Pages
Orchestral works transcribed for wind and percussion ensembles have been a standard component of the performance literature throughout the twentieth century to the present. Though an increasing number of composers were beginning to write original works of merit for wind bands during the mid-twentieth century, selections from the orchestral canon remained a staple of secondary school, college, community, and military wind and percussion ensembles.
This study analyzes the textural, rhythmic, and harmonic elements of Lawrence T. Odom’s transcription techniques used arranging masterworks for the United States Air Force Band from 1958 to present day. He transcribed over three hundred orchestral and keyboard works for the United States Air Force Band and performed with many of the most prestigious orchestras and wind bands in the world. After his service as principal harpist in the United States Air Force Band, Odom was appointed the principal harpist of the Kennedy Center Opera in 1978. In addition to his performance career in Washington D.C., he has performed with the Paris Opera, Vienna State Opera, French National Radio and Television Orchestra, Radio Berlin, and the New York Philharmonic. His extensive study and performance with the world’s finest teachers, performers, and conductors helped to fashion Odom’s transcriptions into sophisticated works of art. His commentary will serve as a resource of techniques and methods as a guide to conductors, performers, and historians. In addition, the author will transcribe Wolfgang Amadeus Mozart’s MauerischeTrauermusik, KV 477 for wind band using techniques of Odom’s paradigm.
band; Odom; transcription; wind
University of Nevada, Las Vegas
Williams, Clinton L., "Lawrence T. Odom: Techniques and Commentary on Arranging for the Wind Band" (2022). UNLV Theses, Dissertations, Professional Papers, and Capstones. 4543.
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