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!”