Chapter V: Part 5

The University of Michigan Band was first mentioned in the school annals of 1844. It was then an organization of nine men. From that time through three score years and ten the band led an intermittent existence. In 1895 it was recognized officially when the Board of Regents ordered the band to furnish music at football games, during Commencement week and for other social events. Three years later the Athletic Association purchased the first uniforms for the musicians.

Captain Wilfred Wilson in 1915 became a member of the faculty, to teach band instruments and conduct the band of seventy members. The next director, Mr. Larson, who served for one year, was followed by Nicholas Falcone. His work was very successful through a long period.

William D. Revelli succeeded Falcone in 1935 and under his skillful leadership the University of Michigan Band has become outstanding among all University bands of the country. “A model band” it is called by one of the most prominent conductors in the United States.

This organization is composed of three units: the Wolverine Marching Band, Varsity Band and the Concert Band. There is a combined membership of more than 250.

The Marching Band admits no women players. The other two units accept both men and women, but only those who are extremely competent can become members of any division of this university band. In addition, each member must meet all scholastic requirements and pass the physical examination. The Varsity Band is, of course, a feeder for the Concert and Marching Bands. The Wolverine Marching Band has established a wide reputation for perfect precision in marching and in making intricate formations on the football field.

The University of Michigan’s Symphonic Band numbers about one hundred members. It is rated throughout the United States as an unusually fine concert band. Dr. Edwin Franko Goldman, the famous New York bandmaster has said, “The University of Michigan Symphony Band stands without a peer among college bands.”

A late issue of a national magazine is quoted as saying: “It steps fastest and plays best of the college outfits that provide music and spectacle on football fields. The Michigan College Marching Band is to today’s football what frosting is to cake. The brassy music and resplendent uniforms are as spirited a part of the spectacle as the game itself.

“In the past few decades the country’s 500 college and university bands have perfected a type of music and military choreography that by now has become a specialized American popular art form.

“This art form reached a peak at the University of Michigan--Revelli.”

WILLIAM D. REVELLI

Dr. William D. Revelli is generally recognized today as one of the leading band conductors of the United States. He received an extensive musical training, having studied under such noted instructors as Felix Borowski, Leon Sametini, Charles Spadoni, L. V. Saar and George Dasch. His education was continued at the Beethoven Music Conservatory in St. Louis, the Chicago Musical College, Columbia Music School and the Vandercook School of Music in Chicago.

In 1925 Dr. Revelli was appointed Supervisor of Music in the Hobart, Indiana public schools, a post which he held for ten years. From there he went to the University of Michigan as Conductor of Bands and Wind Instruments. At that time Revelli was the only instructor of the Band Department with its ninety-six members. Today it lists seventeen instructors for its more than 350 bandsmen.

Through almost a score of years Dr. Revelli has upheld the highest ideals for perfect band performances by all the units of the Michigan University Bands. These high standards have exerted a great influence upon all college and university music organizations over the country. This conductor believes that a College band is of the greatest help to a student majoring in music. It gives him “opportunity for concert ensemble experience, a knowledge of music theory, composition, conducting and social contacts as well as skill in performing.”

In June, 1947, in acknowledgement of his worthwhile work in the field of music, the degree of Doctor of Music was given Mr. Revelli by the Chicago Musical College. Many other honors have been awarded this great music master: he was made a member of the Board of Directors of the American Bandmasters’ Association, member of Alpha Kappa Lamda, Phi Mu Alpha, Honorary National Grand President of Kappa Kappa Psi and of many other Societies. For about fifteen years Dr. Revelli has edited the Band Department of the _Etude_, a leading music magazine, and for more than five years he has been editor of the Michigan Band Series.

Each year, in every part of the United States Dr. Revelli makes numerous appearances as a guest conductor, a clinician or a judge of band festivals. Without doubt he is one of the country’s outstanding band conductors.

_High School Bands_

The first World War and the service bands marching in uniforms made the people of America _band conscious_. The trumpets and cornets rang out boldly in _Over There_ and _Tipperary_, while the saxophones moaned their way through _Avalon_ and _Roses of Picardy_. Everyone whistled or sang _K-K-K-Katy_, _Beautiful Katy_ or _Pack Up Your Troubles In Your Old Kit Bag_. Then the War ended and the mood faded.

Radios came into general use. A few fine bands and orchestras were assembled by the large radio companies. Their new records, perfectly produced, became widely popular. People found it unnecessary to travel to cities to hear good music, and thousands of trained bandsmen were left without jobs. The manufacturers of band instruments suffered great losses in their business until they discovered a new field in working with high school bands.

American youth ran wild with the “school band” idea, but with capable instruction and supervision the amateur organizations soon became worthwhile projects. The ex-soldier bandsmen jumped at chances to teach and direct high school bands. The instrument makers sold them the various instruments on reasonable terms and the music dealers generously furnished the music at reduced rates.

Financial aid was made possible by the Landers Band Tax Law. Major George W. Landers, a noted army and municipal bandleader of Clarinda, Iowa, was the author of a movement for state legislation to permit minor cities to tax themselves for the support of municipal bands. This law was passed and more than one-half the states of the Union quickly adopted the measure. Major Landers is one of the few reformers who has lived to see his plan working. Now in his 90’s he is an Honorary Life Member of the National Bandmasters’ Association.

Another great aid to the high school bands was a national band contest sponsored by music manufacturers who gave the winners generous money prizes. The first venture in 1923 was a huge success and started the contest idea off with a bang. This was the beginning of a most profound movement which worked a decided change in the whole status of bands in the United States, and from which an entirely new school music program grew.

A number of school boards woke up to the cultural and educational value of the new band development among the youth. They made it a regular part of the curriculum, and school credits were given the course.

National band contests were sponsored by various industries, service clubs, and often by state fairs. Beginning in 1925 contests were held annually in various cities. The heads of the Service Bands and tops in concert bands and other noted musical organizations gladly cooperated in this great musical movement by acting as judges and band leaders. The meet held at Flint, Michigan in 1930 was highly spectacular. John Philip Sousa led forty-two large bands in a mammoth concert before an audience of 75,000.

Although school bands originated in the Midwest states, they soon sprang up like mushrooms over the entire nation. In some states as many as 600 to 700 bands entered state-wide competition. The idea grew too large for the plan, and in 1937 the country was divided into ten regions. Contests were held in each state, then these winners competed in the regional meets, and the victors joined in the national competitions.

The name “Competition Festival” replaced the title “Contests.” Instead of selecting a first, second and third winner in each group of contestants and giving them prizes, the rating plan is now used--five ratings for the best performances in each class of musicians entered. The students are not competing against any one person but are trying to equal or approach a perfect standard (or example) of performance. The ratings are listed as follows:

1. _Best_ conceivable performance of the class which is being judged.

2. _Unusually_ fine performance.

3. _Good_ performance.

4. _Average_ performance.

5. A performance showing much room for improvement.

The leading authorities in the field of music education have come to believe that “the principal purpose of competition _in_ music is to advance the cause of education _through_ music.” They feel that this activity contributes great value in building character through the experience, team work, good fellowship and the ability to be good losers as well as proud winners.

After the division of the country into regional areas in 1939, 20,000 to 25,000 high school bands were listed in the United States. In 1950 a report on Music Education in the schools states that 35,000 high schools have bands. In several states departments of music education have been introduced. The American Music Conference attributes this upsurge in music interest to demands on school systems made by parents. In more than 500 communities in 21 states parents have organized “Community Music Councils” to support school programs, consult with school principals and boards, and to insist upon the employment of music supervisors and instructors.

On many occasions unusual means have been used to arouse and stimulate the interest of student players. The directors of a number of Wisconsin school bands hit upon the novel idea of combining a band clinic and a circus.

In Fond du Lac, Wisconsin, Dr. Lawrence Skilbred, director of music education and 24 other band directors decided to engage Merle Evans, the famous leader of the Ringling Brothers’ Band and hire a miniature three-ring circus of sixteen acts.

Each of the twenty-four bands in the group was allowed to send five of their star players. Over 100 outstanding student musicians began rehearsing including Ringlings’ music for their Grand Entry, _Red Wagons_ and _Circus Days_. The gymnasium in the Fond du Lac High School was transformed into a three-ring circus. The demand for tickets couldn’t be supplied. The performance was perfect. Every step of the military ponies, each swing of the trapeze, every pirouette of the waltzing lion was accompanied with appropriate music from the band. At the conclusion Bandmaster Evans mopped his brow and told the All-Star players, “Everything went like clockwork. You were the largest band I have ever conducted--and one of the best!”

THE FARM AND TRADES SCHOOL BAND

Generally acknowledged as the first School Band in America is “The Farm and Trades School Band” of Thompson’s Island, in Boston Harbor, Massachusetts. This school, established in Boston in 1814, was moved to its present location nineteen years later.

Nathaniel Hawthorne visited the Island school in 1837 and fully described it in “The American Notebooks,” calling it “The Manual Labor School for Boys.” Today, just as then, besides courses in Junior and Senior high school studies, practical courses are taught in Agriculture, iron forging, painting, printing, woodworking, mechanical drawing, steam engineering and boat operation. The pupils spend half their time in classes and half in working at their trades.

The School band was organized in 1857 and has been in continuous existence ever since--for almost a century. The boys’ first attempt at making music was on tissue paper-covered combs. This effect was soon improved by the addition of a bass viol, three violins, a sax horn, a cornopean and a small drum.

The principal of the school, John R. Morse, was director and general supervisor, and a special instrument instructor assisted him. The band increased in number rapidly and improved in its performance even more quickly. The first concert was given in 1858, and the band proudly led the procession when the School made its annual pilgrimage to Boston the next year, 1859. This was probably the first public appearance of any school band in the world.

There was little money available to spend on band equipment, but by using suits of several different styles in a few odd shades, they were fitted out with uniforms. New instruments had been obtained, and each glistened like gold, although the horns, wobbling as the players marched, pointed in various directions. Every proud bandsman carefully donned his snowy white gloves before handling his instrument.

Although the band was only four years old when the Civil War began, the director and sixteen former players enlisted as Musicians. Mr. Morse returned from the War and completed a span of fifty years as director of the band.

The high point in the band’s history, as well as the greatest event in the lives of its members at that time, was playing at the Peace Jubilee. In response to an invitation from Patrick Gilmore, the famous band conductor, the Farm and Trades School Band played in his great 1,000-man band at the first Peace Jubilee at Boston in 1869. Ever afterwards those boys boasted of having performed with this group of bandsmen from at least five different countries.

The present bandmaster, Mr. Frank L. Warren, was chosen in 1923. A thorough musician, he is exceptionally well-fitted for this office. He directs several bands in the Boston area, is a member of various musical organizations--among them, the U. S. Army-Navy Bandsmen’s Association and the 101st Engineers’ Band. He inspires the school boys with a genuine love of music and a real joy in playing. The Farm and Trades School Band has throughout its years, won many honors at the state and the New England school band contests and later, high ratings at the Competition Festivals.

The popularity of the band has constantly increased. For instance, out of a school enrollment of 82, there are 50 in the band. Various nationalities are included in the membership--at one time, one player was an American Indian lad named “Rainbow Red Canoe,” a great grandson of the famous chief “Sitting Bull.”

Most boys who have begun their music study with the band make it a hobby in later life, and many choose it as their lifetime profession. Composers, arrangers and music publishers have come from this Farm and Trades School Band, while many other former players have become valued members of symphony orchestras, opera and theater orchestras and nationally-famous concert bands.

A. R. McALLISTER

_The Pioneer Leader of School Bands_

The High School principal, hurrying out to lunch stopped at the foot of the stairs and listened in astonishment.

“Horns and drums,” he muttered, “I’ll have to see what is going on down here!”

He followed the sounds easily and through the rear door of the manual training room saw a group of boys, seated on nail kegs and boxes, playing various instruments. A stocky young man was busily directing them.

The principal smiled and quickly turned away. “Mac has certainly started something this time!” he said to himself. But not until years later did he realize that he had seen in its very beginning, Joliet’s famous School Band under its leader, who became the Dean of the School Band movement. This was the commencement of the greatest wave of music ever to sweep the country.

A. R. McAllister was born on a farm near Joliet, Illinois. As a very small boy he was fond of making music. Seldom was he seen without a cornstalk fiddle or an elder flute.

To the dismay of his thrifty Scotch father, Archie sold his pet pig for eight dollars and immediately sent a request to a mail order house for a cornet costing that exact sum. However, the elder McAllister was pleased that his son sent a C.O.D. order. Evidently he was going to be sure to get the worth of his money.

The boy tooted away faithfully and was soon able to play tunes. His next thought was to teach other boys in the neighborhood and organize a band. The group made good progress and had fun besides, although some of the neighbors declared “That McAllister boy does nothing but fool around with music and will never amount to anything.” But the first year of its existence this new band entered a contest and won the first prize--a music rack. The second year they again won first prize--this time a five-dollar bill.

Then Arch grew restless. He wondered which to follow--business or music? He loved music but he wanted to make money quickly, so he took a course in business school and got a job as auditor of the street car company. That failed to satisfy him. He sold his cornet and went “out west” to a fruit ranch in Montana. There he worked into a different line, woodworking, building and making things with his hands. He felt he had a real talent for this sort of work and soon went back to Chicago to teach manual training in a Jewish training school.

A few years later McAllister accepted a position as Manual Training teacher in the High School in Joliet, Illinois. Here he seized upon an opportunity to get back into music work. He rounded up twelve boys who liked music but knew nothing at all about it. They gathered up a dozen used instruments, and McAllister began to teach and train the High School Band, which at first was looked upon solely as an aid to the football team. Their lessons were given outside of school hours and for some time McAllister received no extra salary.

The boys worked faithfully, their membership increased and their ability improved, but no one knew much about them. In 1920 the Joliet Rotary Club took McAllister and his band to Atlantic City to their convention. There they attracted much attention.

When the first national school band contest was held in Chicago, twenty-five bands took part in the affair sponsored by the Music Instrument Manufacturers. The Joliet, Illinois Township Band (Grade School) directed by A. R. McAllister, easily won first prize.

The Joliet Band continued to win first place in contests in 1925, 26, 27, and 1928. Then they were barred from entering to give other bands a chance. But when they re-entered they came out first in each contest.

The Joliet High School Band after having won many state and national contests was finally given an honor no other organization will ever have: the _first_ national school band trophy ever awarded in the world.

Bandmaster McAllister took his band on many pleasurable concert trips, but the outstanding, unforgettable jaunt was a whole week’s engagement playing in Radio City Music Hall in New York in March, 1936. The Joliet Band also played at the Metropolitan Opera House, in Philadelphia and in Washington, D. C. on the steps of the East front of Capitol Building where they were cheered by Congressmen and Senators.

Many honors came to McAllister also. He was elected the first President of the National School Band Association, organized in 1926, and served for eight years. He was president of the American Bandmasters’ Association, and prominent in every organization connected with school music.

A. R. McAllister died September 30, 1944, loved and honored by many thousands of people, young and old. He was an extremely modest man, yet he had one of the most brilliant careers in the history of instrumental music education in America’s public schools.

McAllister was not a University man; he never graduated from a music school, never had a doctor’s nor a master’s degree. Yet he created one of the greatest high school bands in the world and was known and loved by millions of young Americans.

_As We Go Marching On_

And so they have all marched--the military bands, Sousa, Gilmore, Pryor, Conway, the town and community bands, and the college and school bands. They have marched right into the hearts of the people, young and old, rich or poor, from Maine to California.

“All these bands have something in common,” wrote Dr. Edwin Franko Goldman. “They are manifestations of a popular musical culture which finds in them an expression of something not provided by any other type of concert organization. Most important, they are a form of local, or regional, or national organization fulfilling a genuine community need and serving a genuine community interest....

“The band has introduced many people to music--both listeners and performers. A band plays for the masses with mixed tastes. It is close to the people, bringing many into firsthand contact with live music.”

Bands are able to perform in outdoor concerts, football games, parades and on many varied occasions. They stand or march when they play, inspiring action. Informal, outdoor band concerts will always remain great popular attractions for few concert halls are large enough to accommodate all the people who want to hear live band music. Besides, outdoor band concerts are free.

The United States is today’s greatest musical nation, and bands have played a great part in developing and spreading the love and understanding of music among young and old in this country. A band is a strong music educational force; a school or college band has the widest opportunity in the world to personally convey music to the people.

With the extensive program of concerts, radio and recording engagements, dances, football pageants, as well as the many regular functions in which the college bandsmen take part, a wealth of opportunity is given a college student interested in gaining experience in music.

In a more limited way this is true with high school bands. School bands are constantly being required to play at many public affairs in their community and school. And with ability to play in the band there comes to each bandsman a sense of citizenship, of belonging to an organization which is considered necessary to the success of public enterprises, of pride and importance in having a part in civic affairs.

People who are qualified to know state that the number of town, municipal, and industrial bands is decreasing, but it is gratifying to learn that these same authorities have found that college and school bands are rapidly increasing in all parts of the country. These organizations are recognized developments of our American culture. A national survey reveals that in 1951 there were 75,000 bands in the United States. And there were fully 9,000,000 high school boys and girls belonging to school bands.

The activities of the high school bands are unified by the National High School Band Association; the musicians composing the Music Educators’ National Conference exercise helpful supervision. The school band is recognized as one of the greatest agencies for teaching democracy and good citizenship, as well as inducing a nation-wide love for music.

“Music,” says the _Preface_ to the 1940 _Resolutions_ of the Music Educators’ National Conference, “is an essential factor in building a cultured and happy people. It belongs to everyone.”

The shrill, noisy brass bands of early days have been supplanted by fine symphonic bands. Master instrument makers have invented a variety of new band instruments capable of producing many novel and artistic effects. Gifted musicians are composing and arranging music especially suited to these various instruments. The band has proved its worth and earned its right to the large place which it now occupies in our American way of life. A band is a necessary part of every community.

And just as the whole future of America is dependent upon the young people of today, in like manner, the fate of the bands of tomorrow depends upon the musical education and training received by the boys and girls of this present time. Youth must go marching on.

Throughout the ages man has found music to be essential in voicing his own innate sense of beauty. Music is not a thing apart from man: it is the spiritualized expression of his finest and best inner self.

There is no one wholly unresponsive to the elevating appeal of music. If only the right contacts and experiences are provided, every life can find in music some answer to its fundamental need for aesthetic and emotional outlet.

The Music Educators’ National Conference, at its national meeting held at Los Angeles in 1940, in full acceptance of its responsibilities as the representative and champion of progressive thought and practice in music education, pledged its united efforts in behalf of a broad and constructive program for music education for the youth of America. The organization recommended that the following measures be taken in the direction of general improvement:

1. Provision in all the schools of our country, both urban and rural,
for music experience and training for every child, in accordance with
his interests and capacities.

2. Continued effort to improve music teaching, and to provide
adequate equipment.

3. Carry-over of school music training into the musical, social
and home life of the community, as a vital part of its cultural,
recreational and leisure-time activities.

4. Increased opportunities for adult education in music.

5. Improvement of choir and congregational singing in the churches
and Sunday schools; increased use of instrumental ensemble playing in
connection with church activities.

6. Encouragement and support of all worthwhile musical enterprises as
desirable factors in making our country a better place in which to
live.

At the 1951 national meeting of the Music Educators’ National Conference, an optimistic view of the future of school music was generally expressed.

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The verse at the beginning of Chapter V is reprinted from “The
History of The Salvation Army” by Robert Sandall by permission of the
author and Thomas Nelson & Sons, Ltd., Edinburgh.

TRANSCRIBER’S NOTES:

Italicized text is surrounded by underscores: _italics_.

Obvious typographical errors have been corrected.

Inconsistencies in hyphenation have been standardized.

Incorrect page numbers in the Table of Contents have been corrected.

New original cover art included with this eBook is granted to the
public domain.

Extensive research did not uncover any evidence that the U.S.
copyright on this publication was renewed.