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.
[Illustration]
_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: