Acknowledgements to On-line version (

The edition of the Heritage Encyclopedia of Band Music was launched in late 2013. It combines the efforts and information from all previous editions. For that reason, the Acknowledgements sections from the previous editions are listed below. The contributions made by so many to all of these previous editions live on in this latest web-based edition. Please take the time to read each of these sections. Those who contributed to these volumes deserve the highest praise and thanks for their willingness to share their time and talents to make the encyclopedia a more comprehensive and complete work.

First and foremost, I must give highest praise and thanks to my wife Toni. I spent many hours working on this latest web version, and she made countless sacrifices, as I worked on my computer. If there is something called a “golf widow,’ then Toni certainly was an “encyclopedia widow.”

I am indebted to Andrew Glover and Andy Clark of the C.L. Barnhouse Company for their continuing support of this web-based edition.

This web version of the encyclopedia owes a great debt of gratitude to Max Maddy of the C.L. Barnhouse Company.  His knowledge of how the internet and search engines work was invaluable in making this site possible.  He devoted countless hours of his own time to designing, implementing, and fine-tuning the data so that the final product would be efficient, accurate, and user-friendly.

I continue to be indebted to many who were important in supporting previous editions of the encyclopedia.  Included in this category are Harrington “Kit” Crissey, Douglas MacLeod, Loras John Schissel, the late Fred Williams, Ed Sasin, and Jerry Rife.  They continue to offer assistance by furnishing me with new “old” work titles, and in updating existing entries.

I am especially grateful to Francis Pieters, who generously shared more than 100 biographies and works lists he wrote for about 100 Dutch and Belgium composers.  The encyclopedia is certainly more comprehensive and all-inclousive with these invaluable additions.

Diane Hoe and Robert Hoe, son of the Late Bob Hoe, and the Hoe Foundation have been continually supportive of the encyclopedia.  It is true that without their generous support, the encyclopedia would not exist.  The band world owes them a real debt of gratitude for their support of this venue for documenting important information about band music and its composers and arrangers.

Please read the acknowledgements of previous editions.  Many leading bandsmen have contributed to this encyclopedia in important ways.

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Acknowledgements to CD ROM version

This 2005 CD Rom edition of the Heritage Encyclopedia of Band Music really combines the efforts and information from all previous editions. For that reason, the Acknowledgements sections from the previous editions are included here. The contributions made by so many to all of these previous editions live on in this latest CD Rom edition. Please take the time to read each of these sections. Those who contributed to these volumes deserve the highest praise and thanks for their willingness to share their time and talents to make the encyclopedia a more comprehensive and complete work.

First and foremost, I must give highest praise and thanks to my wife Toni. I spent many hours working on this latest CD Rom version, and she made countless sacrifices, as I worked on my computer. If there is something called a “golf widow,’ then Toni certainly was an “encyclopedia widow.”

Paul Bierley, the editor of the first two volumes and the supplement, was always ready and willing to give counsel and advice as this CD Rom project took shape. Due to his commitments to his latest work, a volume on the Sousa Band, and to health concerns, Paul was not able to serve as editor for this CD Rom version. But his advice and guidance was always there when it was needed. I am most grateful for his help.

The name Harrington “Kit” Crissey will be found as the byline to a number of biographies in the text. When one reads his biography in the Contributors section, it will be clearly understood that he has contributed a vast amount of otherwise unavailable information about the music and composers from the Russian, Czech, and Japanese band scene. Kit was also one who was always eager and ready to help. The author “bent his ear” on many an occasion, and his wise guidance and assurances were of important help to the author through this entire project. He and his students at the English Language Services School at St. Joseph’s University also were of great help in translating original language materials into English. Chief among these were documents in Japanese, Russian, Czech, and Polish.

Doug MacLeod has an untiring passion for old band music. His vast collection of band music sets, accumulated over a 40-year period, has yielded a large number of new works and editions for the listings in this version. “Doug the Digger” regularly sends lists of additions to the encyclopedia. Without his vital assistance, the historical aspect of this encyclopedia would be far less accurate.

Another person whose passion is the older music is Ed Ballenger. He seems to be able to dig out the odd and unusual things. These were always photocopied and sent to me, along with his latest limericks. All of musical contributions are listed herein. Thankfully, his limericks do not fall within the scope of this work!

Loras John Schissel, conductor of the Virginia Grand Military Band and the Blossom Festival Band, is, in addition, a specialist in the Music Division at the Library of Congress in Washington, D.C. He found a number of very valuable and rare catalogs of band music from the early 1880’s, and also shared his input about the scope of this version as well.

There are a number of people who simply love bands and their music who contributed important information to this new edition:

The late Frederick Fennell was always supportive of the project, and gave the author some invaluable assistance in getting information about the Japanese band scene.

John Bourgeious, retired leader of the United States Marine Band, was always ready to help with information and advice.

Ed Sasin shared a listing of his large collection of Czech and Polish band music. These listings provided a large number of additional listings for this edition.

In addition to being the owner of the largest privately-held record collection, Fred Williams is also a veritable walking encyclopedia of band music and band people. Fred was always willing to share his vast storehouse of knowledge with the author. Future editions will include even more information from this seemingly endless fountain of band knowledge.

Canadian tuba player Carl Ehrke gave the author valuable assistance in locating information about the band music and composers of his country. I also owe a debt of gratitude to him because he continues to correspond with the author in spite of the author’s infrequent responses.

Jerry Rife, conductor of New Jersey’s Blawenburg Band, is another person who was always ready to share information and advice with the author.

George Weaver, chairman of the New Holland (Pennsylvania) Band’s Sesquicentennial Committee, gave the author access to the band’s fine library and the archives of that town’s newspaper, The Clarion. Both of these sources have given information and works listings that are included in this edition.

The Robert Hoe Foundation, Robert Hoe, president, and Rod Elden, a member of the board, have been supporting the Encyclopedia from its first days until the present time. Without this support, the first edition and the supplement simply would not exist. The author is grateful to the late Bob Hoe, creator and producer of the Heritage of the March series of long playing recordings (please refer to The Legacy of Robert Hoe and The Hoe Series of Recordings for more information), and his late wife Marilyn, for their support of this project at its inception.

Jennifer Blair spent countless hours editing a major portion of the manuscript. Her expertise, guidance, and advice are invaluable.

A project such as this relies heavily on the computer. The first and most important consideration was to have an adequate search engine for the CD Rom. The people at, in particular Jim Hartmann, and Paul Wilson have been most patient and understanding in working with the author on this search engine. Without this search capability, the information on this CD Rom would simply be unusable. Other computer advice and assistance has come from Terry Scoggins, Bill Skidmore, and our daughter Lydia Rehrig Stiles and her husband Eric Stiles. Each of these people was there when I needed some kind of computer problem solved. Their help unstuck a number of sticky computer problems.

As I updated this new version of the encyclopedia, it became evident that there were a number of gaps in my information. A number of fine people stepped forward and helped to fill those gaps:

Ken Murakami of Brain Music, and Toshio Akiyama, Japan’s leading band music authority, furnished the author with a large amount of information about the composers and band music of Japan.

Mike Ressler, librarian of the United States Marine Band, furnished information about the compositions and arrangements of Marine Band composers and arrangers.

Sue Koutsky also provided the author with a number of heretofore unlisted pieces for this latest edition.

Philip Teperov shared his experiences as a Russian band musician, along with a number of titles of pieces from the Soviet Union.

Italian band music author and researcher Marino Anesa was most generous. He gave the author the updated manuscript to his two Italian Band Music Encyclopedias, Dizionario della Musica Italiana per Banda e Gruppi di Fiatti, along with a large collection of tear sheets documenting the lives and careers of a number of composers, along with additional catalogs and publications from Italian publishers. The author is most grateful to Marino for this valuable body of information and permission to use it in edited form.

I am indebted to Bernhard Habla, President of the IGEB, for giving permission to include information from his fine book, Blasmusik und ihre Komponisten im Burgenland.

Francis Pieters also sent the author a large collection of tear sheets and photographs that were invaluable to this edition. He also has furnished a large amount of information about Dutch band music and composers that will be included in the next edition.

I want to thank Lisa Buringrud, who updated Susan Creasap's dissertation on women band composers, for permission to use the information from her fine work.

Egil Gunderson, treasurer and historian of WASBE, furnished a large amount of information about Norwegian and Danish composers.

At the end of hundreds of biographies in this encyclopedia, one will find, “Correspondence with the composer”. In each of these cases the composer has taken the time to provide the author with biographical information and lists of their compositions and arrangements for band. They then proofread their entry for accuracy and completeness. I am indebted to each and every one of these composers. One of the valuable lessons that I have learned through the production of these editions of the encyclopedia is that in addition to being the creators of fine music for bands and wind groups, these composers are also fine people as well. I am truly blessed that I have made some truly fine friendships with many of these composers.

A large number of publishers have been most cooperative in enabling the author to contact their composers, and in giving information as well. Among these are:
  • Brian Balmages (FJH Music)
  • Mitchell Bender (Mitchell Bender)
  • Geoffrey Brand (G&M Brand)
  • David Black (Alfred)
  • Andy Clark (Barnhouse)
  • Larry Clark (Carl Fischer)
  • Jim Cochran (Shattinger’s Music, St. Louis, MO)
  • Walter Cummings (Grand Mesa)
  • James Curnow (Curnow Music Press)
  • Larry Daehn (Daehn)
  • Bob Dingley (Warner Brothers)
  • Chris Donze (Great Works & Ludwig)
  • John Edmondson (Queenwood/Kjos)
  • Robert Foster, Sr. Wingert-Jones)
  • Andy Glover (Barnhouse)
  • Ralph Hultgren (Brolga)
  • Mark Humphreys (Bravo Music)
  • Stan Kitchen (Studio Music)
  • Paul Lavender (Hal Leonard)
  • Anne McGinty (Queenwood/Kjos)
  • Joe Pappas (JPM Music)
  • Bruce Pearson (Kjos)
  • Mark Rogers (Southern)
  • Thomas Rundel (Rundel)
  • Philip Sparke (Anglo Music)
  • Dale Underwood (DDP Music)

There is one thing for certain. With this many people helping out in so many different ways, I most certainly have forgotten to list somebody. Please understand that the omission was unintentional and I deeply regret it. I am deeply indebted to each and every one who provided any information or help in making this 2005 edition of The Heritage Encyclopedia of Band Music a reality.

Finally, I must thank the many people who have purchased and used the previous editions of the encyclopedia. I have met and talked with a number of you, and I appreciate all of your thank you’s, congratulations, suggestions, and reports of errors and omissions. As you use this CD Rom edition, please inform me of any errors, omissions, and additions. You may contact me at

All best wishes,

William H. Rehrig
Joppa, MD & Belmar, NJ
June 2005

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Acknowledgements to Volume 3 (supplement)

Several individuals have made major contributions to this supplement, so the author and editor wish to thank each one for their monumental contributions to band history and for spending countless hours compiling data which was, in all instances, incorporated.

We owe a debt of gratitude especially to Leonard B. Smith, composer/arranger and conductor extraordinaire who meticulously checked entries of the original encyclopedia against the catalog of the Detroit Concert Band, which is one of the most extensive and eclectic in the entire world.

Douglas MacLeod, who has devoted much of his life to cataloging the publications of major American music publishing firms, was kind enough to share his findings with us. In fact, he contributed more valuable information than any single publisher.

Music librarians and other associates of American Military bands provided invaluable assistance. Among these individuals were Frank Byrne, Mike Ressler, Susan Koutsky and Russ Girsberger of the U.S. Marine Band; C. Bryan Kidd of the U.S. Navy Band; Ken Megan of the U.S. Coast Guard Band; several musicians of the U.S. Air Force Band; and Aldo Forte of the Air Combat Command Heritage of America Band.

Another man who realizes the importance of accuracy is Col. Lowell E. Graham of the U.S. Air Force Band, who, with the assistance of the band’s library staff, compared entries in the original encyclopedia with the band’s music data bank and found numerous discrepancies and omissions.

Among other scholars who each gave generously of their time to complete the lists of works of numerous composers was Loren E. Geiger. He has written feature articles about many of these same composers in his periodical, the Boombah Herald.

Much unexpected help came from Richard E. Prince, who greatly expanded numerous composers’ lists of works. Because of his knowledge of Central European composers and his penchant for leaving no stone unturned, we express our profound appreciation.

Another scholar who made major improvements in documenting the lives and works of several composers, particularly American composers, is Lavern Wagner. He generously shared the findings of his very thorough research.

The band community will be eternally grateful to Francis Pieters, Wolfgang Suppan, Mario Anesa, Norman E. Smith, and Mogens Gaardbo for their extraordinary documentation of band composers and their music. Not only did they graciously allow us to extract information from their trend-setting books, but they also added much unpublished information.

Among those scholars who provided a wealth of new information on composers of their countries are Arne Halvorsen of Norway and Seiichiro Takahashi of Japan. They felt an obligation to furnish this information, because neither the author nor editor could possibly have unearthed the same information in the time frame allotted.

The author and editor are indebted to numerous individuals, each of whom contributed information on composers who wrote specific classes of music. Chief among these would be George Foreman of Centre College, whose dedication to traditional American band music is widely recognized. He is founder of the Great American Brass Band Festival and engages bands which have brought forgotten band music to the festival and thus expanded our knowledge. Capt. Kenneth Force of the U.S. Merchant Marine Academy Band and Commander Lewis Buckley of the U.S. Coast Guard Band were also especially helpful.

Other examples of such scholars are James A. Strain, who researched the field of percussion solos and shared his findings with us, and Charles Conrad, who has an extensive knowledge of march composers. Others are Patricia Backhaus, whose specialties are cornet soloists, women bandmasters, and Wisconsin composers. Two others are Keith Clark, a specialist in trumpet and cornet literature, and John Wyman, who furnished the titles of numerous brass solos, as well as information on the composers.

In the process of compiling a compendium such as this, writers or editors must make countless inquiries to representatives of retail music stores which service large geographical areas. Invariably, they have extensive knowledge of publishers and their music. In this instance, the author and editor leaned heavily on Diane Meyers of Menchy Music Service of Hanover, Pennsylvania, as well as Kent White and Dan Clark of Stanton’s Sheet Music of Columbus, Ohio.

Among those with keen eyes who brought our attention to errors in previous listings are scholars such as Gay Corrie, Joe Marino, Ed Ballenger, George C. Weisert, Dianna Eiland, and Jim Dutton. These individuals also provided information about omissions, thereby making this supplement a more complete book.

We wish to express our appreciation to reference and music librarians who were particularly helpful: Loras Schissel of the Library of Congress; Phyllis Danner of the University of Illinois; Patricia Rothermich and Monica McJunkin of the Otterbein College Library; and the staffs of the Columbus Metropolitan Library and the Milwaukee Public Library. Numerous other libraries and their staffs are identified in the “Correspondence with ______” listings under “References.”

There are many, many individuals who sent or called in information on composers and music, publishing information, dates, titles, and so forth. It would be impractical to list the hundreds of individuals who contributed information, but a few who were especially helpful are listed below. We hasten to add that they are not listed in any particular order!

Leon Bly, Rodney Bashford, Philip Mather, Al Schwab, Elisa Koehler, W. Francis McBeth, Susan Cresap, Jean Marc Lanois, Nicholas Contorno, Joe Sweet, Frederick P. Williams, Ira Novoselsky, James Cochran, Marshall I. Blank, Don Burns, Charles T. Gabriele, Robert Bouma, Rick Benjamin, Frank McGuire, Solomon Goodman, Arthur Lehman, Sidney Berg, Donald G. Kwast, Rick Van Santvoord, Carl V. Ehrke, John Violetta, Joe Hoesly, Don Larry, Jerry Rife, George A. Dietzler, James Burk, Rod Elden, Robert Duvall, Robert Grant, Reg McGovern, Ken McFarland, Joseph A. Lindquist, Lewis S. Lawton, Linda Markel, David Clark, Mark B. Johnson, George Stein, Jr., Chuck Arnold, Paul Cohen, Paul Wehage, William E. Fry, Edward Martin, C.K. Fulton, Don Larry, and Harry Benford.

Translators provided assistance of a very special kind. The author, in particular, wishes to acknowledge the help of Leo Schmidt and Louie and Elsie Dossena.

The assistance of publishers was especially critical. For much needed help, we express our grateful appreciation to Tim Nail of Alfred; Ralph Gingery of William Allen; B. Windbier of American Composers Alliance; Andy Clark of Barnhouse; David Olsen of CPP Belwin; Ralph and Julie Hultgren of Brolga; Larry D. Daehn of Daehn; Ch. von Swol of Donemus; Arthur Fuhrmann of Edition ELVIS; Jean Hasse of Faber; John Boerner of Carl Fischer; Harold Gore of Gore; Barbara Meeks of Heritage; Greg Kaplan of Hollow Hills; Nadine Gardner of Kendor; Greg Kerkorian of Lake State; Neil A. Kjos, Jr. and Kathy Hom of Neal A. Kjos; Darlene M. Kaminski of Hal Leonard; Elizabeth Ludwig Fennell of Ludwig; Ed Sueta of Macie; Leslie East of Novello; George D. Hotton of Theodore Presser; John Edmondson and Ann McGinty of Queenwood; Edith Pirie of Shawnee; R. Mark Rogers of Southern; Jan Olof Rudén of Svensk; Jim Wiley of TRN; and Robert Foster and Ron Allen of Wingert-Jones. Once again, we emphasize that the individuals listed above are not listed in any particular order of importance.

Countless other contributors are mentioned in the “References” listed under composers’ biographies.

Numerous composers (or their spouses, relatives, etc.) must be thanked for providing their own biographical information and lists of their own works. These contributions are duly noted throughout the book. Many also gave data about colleagues who were deceased or were not responsive to requests for information.

If the names of other contributing individuals or institutions have not been mentioned, please believe that it was unintentional and that their assistance will be acknowledged in future volumes.

Several individuals provided invaluable assistance in clarifying sticky computer problems. They are Lou Mitchell, Don Brink, Eric Allison, Bill Skidmore, Paul Chen, Mike Himowitz, Eric Stiles, Lydia Rehrig, William Walker, and Bob Miller.

We also wish to thank those who worked tirelessly in the many phases of preparing the manuscript: Kathryn Morris, Lori Dill, Lawrence Cohen, Patrick Herak, Linda Hill, Connie Shellhammer, Laura Wells, and Darrin Harvey.

For assistance in the design and formatting of the entire book, we thank Larry and Michelle McVay of Caxton Printing, Westerville, Ohio.

Last, and most importantly, to Toni Rehrig and Pauline Bierley go our heartfelt thanks. Their patience is monumental; at times they must have felt that their husbands were married to computers.

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Acknowledgements to Volumes 1 & 2

This encyclopedia is, in effect, a tribute to the late Robert Hoe, Jr., whose dream it was, and is also a tribute to may scholars whose cooperation made it more complete.

Those who contributed biographies or lists of works are listed in the preceding section, but there are also many individuals who helped in a variety of other ways. Without their assistance, the books would have been much less comprehensive.

Chief among those persons was James A. Perkins, founder of the Chatfield (Minnesota) Brass Band Library. In processing thousands of boxes of music donated to the library, he discovered a treasure of obscure works composed during the "golden era of bands." He made countless telephone calls and sent many reports to the publisher to make sure those works were included in the encyclopedia. In this way, numerous pieces of music which were privately published or uncopyrighted were brought to the editor's attention. It is a pity that Perkins did not live to see the fruit of his tireless efforts.

Another person whose help would be difficult to measure is Leonard B. Smith, the venerable composer, conductor, and cornet virtuoso. The catalog of his massive library, painstakingly collected over half a century, was made available. Smith also gave generously of his time in examining sections of the manuscript for correctness.

Raoul Camus, a music scholar among music scholars, made certain that the author and editor had access to all the information on band composers which he had amassed before sending it off to be incorporated in the New Grove Dictionary of American Music. The criticism he offered, especially on the appendices, was enthusiastically accepted .

Many thanks also go to Norman E. Smith, author of such enlightening books as Band Music Notes and March Music Notes. He unselfishly permitted the use of biographical data that had been so costly for him to obtain, even data which he has been compiling for future books.

Among others who provided valuable data on composers and their works were Loren D. Geiger and Gay Corrie. Much of Geiger's data on composers has not yet appeared in his timely periodical, the Boombah Herald, and he graciously volunteered it for use in these volumes. Corrie, who, like Geiger, contributed both special arrangements and biographical data for the Heritage series of records [see Appendix IX], was particularly helpful in compiling or comparing lists of works of European composers and in providing editorial guidance on the appendices.

One author-researcher (and noted conductor) who was of inestimable help in furnishing information on central European composers was George Foeller. His unique book, Bands of the Austrian-Hungarian Empire, has been a revelation to American band historians. He spent many hours gathering additional biographical information, explaining central European band philosophies, and elaborating on the meaning of foreign titles.

Thanks go to Margaret and Robert Hazen, who expanded on information appearing in The Music Men, that staple of American music history. Another scholar who exchanged information on composers and their works was Patricia Backhaus, who is doing extensive research on famous cornetists. Her willingness to share data was most welcome. Her colorful stage portrayals of Helen May Butler, incidentally, are paving the way for a better understanding of women composers.

William Lichtenwanger, formerly of the Music Division of the Library of Congress, was very helpful in pinpointing sources of information on old music and publishers. His sage advice has been sought by music researchers for several decades, and there seems to be no end to his knowledge of music and research techniques. Another man who was helpful in many ways was Oliver R. Graham, founder and curator of the Cameron-Graham Memorial Band Library, whose collection of historical phonograph records and journals was of much help. One who helped in still another way was Solomon Goodman; his collection of rare sheet music yielded several surprises.

Thanks also go to numerous composers who furnished vital data on their own careers and music creations. Their relatives and associates were also very helpful, sometimes even more so than the composers themselves. These parties are all listed in the references accompanying the biographies

Essential information on composers and their works also came from many institutions and organizations, such as libraries, museums, historical societies, fraternal organizations, musicians' associations, recording companies, and so forth.

The author and editor are grateful to Douglas MacLeod for making available the findings of his many years of research on music publishers and their issues. An experienced librarian with an engineering background, nothing was lacking in his detailed investigations.

The help provided by the librarians of the U.S. Marine Band was phenomenal, and the cooperation of Colonel John R. Bourgeois was deeply appreciated. Frank Byrne worked tirelessly to organize findings and read sections of the manuscript with a critical eye. The careful attention to detail for which he is known is reflected in his fine book, A Practical Guide to the Music Library. The help of the Marine Band library staff, consisting of Mike Ressler, Katherine Allen, Susan Zaffke, Russ Girsberger, Theresa Renner, and Dianna Eiland (former staff member) was gratefully accepted. They met every challenge with enthusiasm. Girsberger, for instance, conducted valuable copyright research while off duty. Eiland provided much welcome consultation in the preparation of the text, bibliography, and appendices.

The guidance of the staff of the Music Division of the Library of congress is also gratefully acknowledged. The author and editor especially wish to thank Jon Newsom, Wayne Shirley, Leander Williams, William Parsons, and Lloyd Pinchback. The assistance of Robert Haas and Loras John Schissel (not Library

employees) is also much appreciated. Thanks also go to the librarians of the U.S. Army, Navy, and Air Force.

Several individuals who read the manuscript critically are due special recognition. These include Ruth Rehrig, Lois Walker, John E. Bierley, and Kathryn Morris in particular, who reworked the entire index. Pauline Bierley edited the editor intensively, and this affected the quality of the book in a very positive way.

Any band historian would be severely handicapped without the help of his or her colleagues. In hundreds of cases, both the author and editor consulted many whose names have not been mentioned above. Among those deserving accolades for their expert assistance are Richard E. Prince, Ronald W. Holz, William Pruyn, Robert Morris, George Foreman, Phyllis Danner, Leon Bly, Frank Cippola, Rick Van Santvoord, Barry Kopetz, Sverre Braathan, Paul Luckey, Andrew Glover, Ward Hodge, Edward W. Bevan, Jonathan Korzan, Steve Dillon, John S. Burroughs, Daniel Frizane, Alvin Schwab, Jan Eriksen, Nils Hutlin, Lars Kornby, and Uno Anderssen. Each of these scholars contributed in his or her own way in the preparation of the manuscript, much to the delight of the author and editor.

Jean and Kurt Angersbach must be thanked for their assistance in German translations, as well as Ann and Frank Huber for Czechoslovakian translations. Special thanks also go to Frederick P. Williams, discographer extraordinaire, whose essay on historical band recordings was not completed in time to be included as an appendix.

Those associated with music dealers probably tired of incessant inquiries, so they are due much credit. Among those to be thanked are James Strouse, Kris Lehman, Kent White, Dan Clark, Don Gallehue, Vivian Baker, Phyllis Snedeker, and Diane Myers.

Computer consultants were of invaluable help throughout the preparation of the entire manuscript, because investigative writers seldom have time to work out problems associated with high tech equipment. So thanks go to Louis W. Mitchell, Jr., Donald Brink, Eric L. Allison, William K. Walker, and Paul J. Harris, all of whom guided the author and editor through difficult times.

Special thanks also go to Keith Brion, the celebrated portrayer of John Philip Sousa, and to Robert Bernat, conductor of the famed River City Brass Band, for their keen insights into composers and their music. Their experiences in the music profession brought special meanings to composers' philosophies, and the broad knowledge gained in their travels yielded data not available through other sources.

Several other scholars provided valuable information on not one, but several composers and their music. Special thanks therefore go to Donald E. McGinnis, Paul Droste, Jack O. Evans, George Stein, Jr., Barry Owen Furrer, Marshall A. Blank, Leonard Haug, Frank Bryan, David M. Ingalls, John Luckenbill, Jr., Edward R. Martin, and Edward D. Martin, Jr.

Vital information on composers and their works was obtained through correspondence with firms which produced their music, so the publisher wishes to express his appreciation to Elizabeth Ludwig Fennell of Ludwig Music; Charles Barnhouse of C.L. Barnhouse; Walter Volkwein, formerly of Volkwein Brothers; Harry Fox of Sam Fox; Arnold Broido and Melody Good of Theodore Presser; Robin Schwartz of Shapiro, Bernstein and Company; Alan Smith of Broadcast Music, Inc.; Patricia Diaz of Alfred; Kristin Hansen of Hal Leonard; D.J. Gruner of Omega; Brian Heller of Shawnee; Jackie Cornwall of Kendor; Michael Carpenter of Accura; Rollie R. Bunn of C.G. Conn; and the managerial/secretarial staffs of Lorenz, Seesaw, Charles Hansen, and Southern Music (Texas).

Thanks also go to the board of directors of the Robert Hoe Foundation. They offered guidance and moral support at both the annual meetings and through encouraging correspondence. It goes without saying that every user of this encyclopedia will be grateful to the foundation for making it possible through financial backing.

Many bouquets go to three bright young ladies, Susan Henthorn, Barbara Payne, and Linda Hill, who each worked diligently on this encyclopedia for several months during the editing and manuscript preparation phases. These ladies were selected not just because of their aptitude but because of their special interest in bands, band music, and composers. Each helped in her own unique way.

Susan Henthorn had a solid background in both music marketing and library science. Her intellectual curiosity and organizational skills were manifested in a challenge-the-writer and prove-the-facts approach which most certainly made these volumes better than they normally would have been. The benefits derived from her enthusiasm and quickness of mind were considerable.

Barbara Payne, who with Susan has now gone on to greater things, provided keen insights in editorial matters. Some of the nervous energy she developed as a music educator on both the college and secondary levels rubbed off on the editor, and her personal knowledge of composers and music gained as a bandmaster and performer was helpful indeed. Her speed at the computer keyboard was a bonus.

Linda Hill, in returning to college to seek a degree in music after an absence of several years, developed a solid approach to music history. This was applied very effectively to manuscript development. Her cheerfulness, as well as her extraordinary accuracy and secretarial skills, added greatly to the success of the project.

Many individuals, in addition to those mentioned in this section, expressed their eagerness to see this encyclopedia in print. Without a doubt, however, the two persons most eager were the wives of the author and editor, Toni and Pauline, respectively. Without their monumental patience, it would not have materialized. The author's two daughters, Mary and Lydia, also deserve special recognition for their understanding during the twelve-year period in which their father was occupied with the countless responsibilities associated with this encyclopedia.

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