In 2011, Clifford Towner completed a second update to the studies done by Jay Warren Gilbert and Acton Ostling Jr. This time, the evaluation panel included:

Frank Battisti**

Richard Clary
Eugene Corporon*
Steven Davis
Gary Green
Michael Haithcock
Felix Hauswirth
Gary Hill
Donald Hunsberger**
Jerry Junkin*
John Lynch
Steve Pratt
Timothy Reynish
Eric Rombach-Kendell
Tim Salzman
Kevin Sedatole
Jack Stamp
Mallory Thompson

*Denotes repeat evaluator from the Gilbert Study.

** Denotes evaluator participated in both the Ostling and Gilbert study.[1]

In Towner’s study, the evaluators reviewed 1,680 compositions, and 144 met the criteria for “serious artistic merit.”[2]

In order to determine which pieces should be included in this chapter, a survey was submitted to a panel of experts who are members of the College Band Directors National Association. For this survey, a panel of experts was defined as Director of Bands at Division I universities. Ninety-six directors were invited to complete the survey, and twenty-two responded. The survey asked the following four questions:

    1. In your opinion, who are the three most influential composers for wind band of the 21st century?
    2. In a few words, why did you pick these composers?
    3. In your opinion, what are the three most influential pieces written for wind band after 2000?
    4. In a few words, why did you pick these pieces?

Some of the anonymous responses as to why they chose these specific works include the following:

“They are remarkable/landmark compositions and do not necessarily represent the most “popular” works, and are not necessarily composed by the most “influential” composers. Yet they will in my opinion withstand the test of time.”

“They introduced colors, sounds, and settings to the repertoire that had been explored in the past, but not nearly as well.”

“All are works of significant craft, depth, and emotional weight. I look forward to to conducting them every time I program them.”

“All of them opened up new worlds for how you could write for wind band in their own way.”

“Each of these pieces has created something that had not yet been done for wind band. We just can’t continue to do the same thing over again. If we do not evolve we will become obsolete.”

“These are main stream composers known around the world for their work. They have embraced the medium, and in the case of John Corigliano, he has gone on record telling the world about how much he loves the medium and has directly influenced younger composers who are now wildly popular in the band medium.”

2004 – Symphony No. 2Frank Ticheli

Ticheli’s Symphony No. 2 was commissioned to celebrate Dr. James Croft’s (1929-2012) 2003 retirement as Director of Bands at Florida State University. This symphony is in three movements regarding celestial light:

    1. Shooting Stars
    2. Dreams Under a New Moon
    3. Apollo Unleashed

The first movement uses “white-note” clusters that represent bright light. The second movement is meant to represent a series of dreams. Finally, the third movement is fast-paced and incorporates Dr. Croft’s favorite Bach’s Chorale BWV 433, Wer Gott vertraut, hat wohl gebaut (Who Puts His Trust in God Most Just).[3]

2004 – Symphony No. 3, Circus MaximusJohn Corigliano

Circus Maximus became possible because Jerry Junkin remained persistent in asking John Corigliano to write a piece for band. Regarding his compositional style, Corigliano writes:

For the past three decades I have started the compositional process by building a shape, or architecture, before coming up with any musical material. In this case, the shape was influenced by a desire to write a piece in which the entire work is conceived spatially. But I started simply wondering what dramatic premise would justify the encirclement of the audience by musicians, so that they were in the center of an arena. This started my imagination going, and quite suddenly a title appeared in my mind: Circus Maximus.[4]

Circus Maximus is composed of eight movements and features a large ensemble that includes a stage band, surround band, and a “marching band.” The surround band incorporates clarinet, saxophones, horns, trumpets, string bass, and percussion placed throughout the hall. The “marching band” consists of piccolo, Eb clarinet, trumpets, trombones, and percussion that starts in the back of the hall and eventually marches around the audience in movement six.[5] The continuous movements include:

    1. Introitus
    2. Screen/Siren
    3. Channel Surfing
    4. Night Music I
    5. Night Music II
    6. Circus Maximus
    7. Prayer
    8. Coda: Veritas

In the program notes, Corigliano explains:

The Latin words, understandable in English, convey an energy and power by themselves. But the Circus Maximus of ancient Rome was a real place – the largest arena in the world. 300,000 spectators were entertained by chariot races, hunts, and battles. The Roman need for grander and wilder amusement grew as its empire declined. The parallels between the high decadence of Rome and our present time are obvious. Entertainment dominates our reality, and ever-more-extreme “reality” shows dominate our entertainment. Many of us have become as bemused by the violence and humiliation that flood the 500-plus channels of our television screens as the mobs of imperial Rome, who considered the devouring of human beings by starving lions just another Sunday show.[6]

2005 – Give us This Day: Short Symphony for Wind EnsembleDavid Maslanka

Give us This Day was commissioned by Eric Weirather and the Rancho Buena Vista Highschool in Oceanside, California. Maslanka completed the score in October 2005, and the piece premiered the following spring. Give us

This Day is written in two movements (moderately slow and very fast) and is about fourteen minutes long. Maslanka did not consider the piece programmatic and gave it the subtitle Short Symphony for Wind Ensemble. In the program notes, Maslanka writes:

The words “Give us this day” are, of course, from the Lord’s Prayer, but the inspiration for this music is Buddhist. I have recently read a book by the Vietnamese Buddhist monk Thich Nhat Hahn (pronounced “Tick Nat Hahn”) entitled For a Future to be Possible. His premise is that a future for the planet is only possible if individuals become deeply mindful of themselves, deeply connected to who they really are. While this is not a new idea, and something that is an ongoing struggle for everyone, in my estimation it is the issue for world peace. For me, writing music, and working with people to perform music, are two of those points of deep mindfulness.David Maslanka, “Give Us This Day: Short Symphony for Wind Ensemble,” David Maslanka, April 2, 2020, https://davidmaslanka.com/works/give-us-this-day-short-symphony-for-wind-ensemble/. Accessed December 30, 2022.

2005 – CosmosisSusan Botti

American composer and performer, Susan Botti’s (b. 1962) many accolades include a Guggenheim Fellowship, the Rome Prize, and a National Endowment for the Arts. She studied composition at the Berklee School in Boston and the Manhattan School of Music. Botti taught composition at the University of Michigan from 2000-2006, and is currently on the composition faculty at the Manhattan School of Music and Vassar College.[7]

Cosmosis was commissioned by a consortium that included Michael Haithcock, Kevin Sedatole, Patrick Dunnigan, John Whitwell, and Jerry Junkin.

Cosmosis is written for wind ensemble, soprano solo, and treble chorus; and was premiered on February 25, 2005, at Carnegie Hall with the composer as soloist, the Women of the University of Michigan Chamber Choir, and the University of Michigan Symphony Band with Michael Haithcock conducting.[8] The work is in four movements:
    1. Overboard
    2. The First Night
    3. Interlude
    4. The Second Night

In the program notes, Botti writes:

The American poet May Swenson wrote “The Cross Spider” in response to the news of a Skylab experiment in which a student project proposed to see whether a spider could spin a web in space. A common cross spider (araneus diadematus), named Arabella, is mythically portrayed by Swenson. Her shape poem, “Overboard” (a play of gravity) serves as a prelude.In Cosmosis, “Overboard” plays with musical equivalents of gravitational force following the shapes laid out in the poem, before entering the gravitation-free sea of space. Here, Arabella succeeds in her quest on “The First Night .” A musical interlude follows, reflecting on the vastness of space as well as the heroic undertaking. In “The Second Night,” Arabella succeeds again…but is sacrificed in the process… ”experiment frittered.” Yet the resonant energy of the mission still spins in the air, like the soundwaves in space that echo throughout the cosmos, becoming a part of it, and inspiring others.[9]

2008 – Ecstatic WatersSteven Bryant

Steven Bryant (b. 1972) is an American composer and conductor who studied with Francis McBeth at Ouachita University, Cindy McTee at the University of North Texas, and John Corigliano at the Julliard School. He has won the ABA Ostwald award once and the NBA Revelli Award three times. He current resides in Durham, North Carolina, with his wife, conductor Verena Mösenbichler-Bryant.[10]

Ecstatic Waters premiered in 2008 and received more than 250 performances in its first five seasons, and won the NBA Revelli award in 2010. Originally written for wind ensemble and electronics, the Minnesota Orchestra premiered an orchestral version in 2015. The five connected movements include:

    1. Ceremony of Innocence
    2. Augurs
    3. The Generous Wrath of Simple Men
    4. The Loving Machinery of Justice
    5. Spiritus Mundi[11]

2008 – First Symphony for BandWilliam Bolcom

American composer William Bolcom (b. 1938) is a National Medal of Arts, Pulitzer Prize, and Grammy Award-winning composer. He graduated from the University of Washington in 1958 and studied with Darius Milhaud at Mills College in Oakland, California. Bolcom went on to study at the Paris Conservatory with Milhaud and Olivier Messiaen from 1959 to 1961 before completing a Doctorate of Musical Arts at Stanford in 1964. He taught composition at the University of Michigan from 1973 until his retirement in 2008. He has composed orchestral, chamber, opera, vocal, cabaret, ragtime, and wind band music throughout his career. [12]

Bolcom’s First Symphony for Band was commissioned by the Big Ten Band Directors Association and premiered by the University of Michigan Symphony Band with Michael Haithcock conducting. The movements include:

    1. Ô tempora ô mores
    2. Scherzo tenebroso
    3. Andantino pastorale
    4. Marches funéraires et dansantes

In his program notes, Bolcom writes:

The First Symphony is by far the most ambitious piece in my very small catalogue for band. In form it relates most closely to my fifth and sixth symphonies for orchestras: as with them, it begins with a tight sonata movement followed by a scherzo, a slow movement, and a sort of rondo-finale. Ô tempora ô mores, a tragic and forceful protest, laments our dark time. Scherzo tenebroso is a cousin to the scherzi in my third, fifth and sixth symphonies, especially in the sardonic use of popular material in their trios; in this trio, as we hear the cornet playing a waltz, I envision a clown dancing. Andantino pastorale belies a seemingly simple tunefulness with its dark undercurrent. The image of a New Orleans funeral procession, followed by a joyous dance-like march back from the graveyard, gives the form of Marches funéraires et dansantes, and leaves us at long last with an atmosphere of exuberance and hope.[13]

2010 – One Life Beautiful Julie Giroux

Julie Giroux (b. 1961) published her first work for band at 13. She studied music at Louisiana State University and graduated in 1984. After graduation, she was hired as an orchestrator for Bill Conti. She has worked on more than 100 film, television, and video game scores and has been nominated for an Emmy Award three times. She won the 1992 award for “Outstanding Individual Achievement in Music Direction.” She has an extensive catalog of compositions for wind bands of all ability levels. In 2009 she was the first female composer to be inducted into the American Bandmasters Association, and in 2021 she was awarded the Medal of Honor Award at the Midwest Clinic.[14]

One Life Beautiful was commissioned by Ray Cramer, Emeritus Director of Bands at Indiana University, and his family, in memory of Cramer’s daughter, Heather Cramer Reu, who passed away tragically. The title refers to the beautiful life that Heather lived. Giroux refers to the work as an “impressionistic freestyle work,” and encourages directors to make their own decisions regarding the dynamic and tempo markings throughout the piece.[15]

2014 – Wine-Dark Sea John Mackey

John Mackey (b. 1973) is an American composer who studied with Donald Erb at the Cleveland Institute of Music and John Corigliano at the Julliard School. He has written music for orchestras, theater, dance, and wind ensembles. In 2014, Mackey was the youngest composer inducted into the American Bandmasters Association. He has won many awards, including the ABA Ostwald Award and the NBA William D. Revelli Competition.[16] Mackey typically collaborates with his wife for his compositions, and she usually names every work after he is done writing it.

Mackey shares the following story about the inception of Wine-Dark Sea:

The commission, from Jerry Junkin and The University of Texas Wind Ensemble, in honor of the 100th anniversary of the Sarah and Ernest Butler School of Music, was for a piece lasting approximately 30 minutes. How could I put together a piece that large? Abby had an idea. Why not write something programmatic, and let the story determine the structure? We had taken a similar approach with “Harvest,” my trombone concerto about Dionysus, the Greek god of wine. Why not return to the Greek myths for this symphony? And since this story needed to be big (epic, even), I’d use the original, truly epic tale of Odysseus, as told thousands of years ago by Homer in The Odyssey.

The full Odyssey, it turned out, was too large, so Abby picked some of the “greatest hits” from the epic poem. She wrote a truncated version of the story, and I attempted to set her telling to music.[17]

The three movements are:

    1. Hubris
    2. Immortal thread, so weak
    3. The attentions of souls

Hubris tells the story of Odysseus loading his ship after the war and opens with a triumphant theme in the horn section. His arrogance and pride post-war cause Zeus to strike him down, and the movement ends as Odysseus’ shipwrecks. Immortal thread, so weak, begins as the nymph Kalypso finds Odysseus and nurses him back to health. She shares her bed with him for seven years until he tells her he wants to leave for home. Kalypso unravels a tapestry she made to record their love and offers it to Odysseus as a raft so that he can return home. The attention of souls shares Odysseus’ journey home, during which he must pass through the underworld.[18]


2016 – Of Our New Day Begun Omar Thomas

Omar Thomas (b. 1984) was born to Guyanese parents in Brooklyn, New York. He studied music education at James Madison University and jazz composition at the New England Conservatory. In 2008, he was awarded the ASCAP Young Jazz Composers Award, and in 2019, he received the NBA William D. Revelli Award. His first album, “I AM” debuted at #1 on the iTunes Jazz Charts and hit #13 on the Billboard Traditional Jazz Albums Charts. Thomas joined the composition faculty at the University of Texas in 2020.[19]

Of Our New Day Begun was commissioned by a consortium led by Gary Schallert and the Western Kentucky University Wind Ensemble. It was written to honor the nine victims who lost their lives on the June 17, 2015 attack on the Emanuel African American Methodist Episcopal Church in Charleston, South Carolina. Thomas writes:

Historically, black Americans have, in great number, turned to the church to find refuge and grounding in the most trying of times. Thus, the musical themes and ideas for “Of Our New Day Begun” are rooted in the Black American church tradition. The piece is anchored by James and John Johnson’s time-honored song, “Lift Every Voice and Sing” (known endearingly as the “Negro National Anthem”), and peppered with blues harmonies and melodies. Singing, stomping, and clapping are also prominent features of this work, as they have always been a mainstay of black music traditions, and the inclusion of the tambourine in these sections is a direct nod to black worship services.[20]

2016 – Symphony No. 2, Voices Jim Stephenson

American conductor and composer Jim Stephenson became a full-time composer in 2007. He served seventeen seasons as a trumpet player for the Naples Philharmonic. Stephenson holds a degree from the New England Conservatory and is primarily self-taught as a composer. He has received commissions from many organizations, including the Chicago Symphony Orchestra, Boston Pops, Dallas Symphony Orchestra, and Houston Symphony Orchestra.[21]

Symphony No. 2 was commissioned by Lieutenant Colonel Jason K. Fettig and the US “President’s Own” Marine Band and premiered at the 2016 Midwest Clinic. The work is subtitled Voices and includes three movements:

    1. PRELUDE: ‘of PASSION’
    3. Voices of One

The piece incorporates a mezzo-soprano that uses no text, and is meant to be another ensemble instrument. Symphony No. 2, Voices won the NBA William D. Revelli Competition in 2017 and the ABA Ostwald Competition in 2018.[22]

2016/2018 – Re(new)al Viet Cuong

Viet Cuong (b.1990) was born in California and moved to Marietta, Georgia, where he attended Lassiter High School. He holds degrees in composition from Princeton University, the Curtis Institute of Music, and the Peabody Conservatory. He has studied with Jennifer Higdon, Steven Mackey, Donnacha Dennehy, Dan Trueman, Dmitri Tymoczko, Paul Lansky, Louis Andriessen, and Kevin Puts. Cuong is a member of BMI, the American Composers Forum, and the Blue Dot Collective.[23]

Re(new)al is a percussion quartet concerto that incorporates “found” instruments, including crystal wine glasses and aerosol cans. Renewable energy initiatives inspire the three movements:

    1. Hydro
    2. Wind
    3. Solar

Re(new)al was originally written with sinfonietta accompaniment for the 2017 American Music Festival. Both the full orchestra and wind ensemble versions were written in 2018.[24]

2017 – Concerto for Wind Symphony: Ancient Echoes Zhou Long

Pulitzer Prize-winning composer Zhou Long (b. 1953) is a Chinese American composer. He graduated from the Central Conservatory of Music in Beijing in 1983 and accepted a position as composer-in-residence with the China Broadcasting Symphony. From 1985-1993 he completed a Doctor of Musical Arts at Columbia University. He currently serves as Bonfils Distinguished Research Professor of Composition at the University of Missouri-Kansas City Conservatory.[25]Concerto for Wind Symphony was written for the 2017 College Band Directors National Association Conference. It was premiered by the University of Missouri-Kansas City Conservatory wind symphony with Steven Davis conducting. Subtitled Ancient Echoes, Dr. Zhou’s first work for symphonic winds is based on the ancient set of poems Nine Odes by Qu Yuan. The six movements include:

    1. Dong Huang Tai Yi (The Almighty Lord of the East)
    2. Yun Zhong Jun (To the God of Cloud)
    3. Xiang Jun (To the Lord of River Xiang)
    4. Shan Gui (The Goddess of the Mountain)
    5. Guo Shang (For Those Fallen for the Country)
    6. Li Hun (The Last Sacrifice)[26]
2017 – The Eyes of the World Are Upon You Jennifer Jolley

American composer Jennifer Jolley (b. 1981) studied composition at the University of Cincinnati-Conservatory of Music and the University of Southern California. She has received commissions from the National Endowment for the Arts, the MidAmerican Center for Contemporary Music, the Left Coast Chamber Ensemble, Quince Ensemble, and many others. From 2018-2022 she taught at Texas Tech University and joined the faculty of the music theory and composition program at CUNY Lehman College in 2022. She has taught composition at the Interlochen Arts Camp since 2015.[27]

The Eyes of the World Are Upon You was commissioned by the Alpha Tau chapter of Kappa Kappa Psi for the University of Texas Wind Ensemble, and written in memory of the mass shooting at the UT Austin campus on August 1, 1966. The title is taken from Alejandra Garza’s article “‘The Eyes of the World Are Upon You, Texas’: How the Austin Newspapers Covered the UT Tower Shooting.”[28] Her other compositions for winds include Lichtweg/Lightway (2017), Ash (2018), Blue Glacier Decoy (2018), and MARCH! (2021).

2018 – Come Sunday Omar Thomas

Come Sunday was the 2019 winner of the NBA William D. Revelli Contest. It was commissioned by a consortium led by the Illinois State University Wind Symphony and Dr. Tony Marinello. This piece is in two movements:

    1. Testimony
    2. Shout!

Regarding the piece, Thomas writes:

Come Sunday is a two-movement tribute to the Hammond organ’s central role in black worship services. The first movement, Testimony, follows the Hammond organ as it readies the congregation’s hearts, minds, and spirits to receive The Word via a magical union of Bach, blues, jazz, and R&B. The second movement, Shout!, is a virtuosic celebration — the frenzied and joyous climactic moment(s) when The Spirit has taken over the service.[29]

2019 – Places We Can No Longer Go John Mackey 

In 2016, John Mackey shared on Facebook about his mother’s rapid-onset dementia. After seeing the post, Gary Hill, Director of Bands at Arizona State University, asked Mackey to write a piece about his mother. Despite initially declining, Mackey eventually agreed to write Places We Can No Longer Go eleven months later.

In the program notes, Mackey explains that his mother was a flutist and soprano who loved music.

This story seems sad, and it is. Nobody wants to hear a piece that tells the story like this, and nobody wants a piece that starts “coherent” and becomes lost and confused as it progresses. So Places We Can No Longer Go tells the story of this disease, but does it in reverse. It starts in the present, or maybe even in the future, and over the course of 22 minutes, goes in reverse, as confusion turns to clarity, and grief turns to comfort.

The soprano is the literal voice of the afflicted, struggling to recall memories before they’re gone. The flute plays a prominent role as well. The piece excerpts several major flute solos — solos that my mother used to practice at home when I was young — and presents them as if my mother is struggling to remember them. A phrase of something — Debussy’s Syrinx or Afternoon of a Faun; the slow movement of Tchaikovsky’s Second Piano Concerto; Ravel’s Daphnis and Chloe — starts, but never quite finishes before the initial memory is lost in a haze. When an excerpt does start, often the solo is echoed out of time and out of key — the way my mother eventually would sing along to recordings in recent years. Sometimes the flute can’t remember the solo at all. Other times, it remembers the solo but mixes up where it goes, and resolves the phrase to a different piece.[30]

A.E. Jaques wrote the text:

I look for you in all the old places

a series of shabby apartments and a Mexican restaurant
that teal-slashed sweater from your yearbook photo

gone now, land unmarks

I trace the trail of us in memory’s atlas

a dotted line crossing borders like in an old movie

big letters for your grandfather’s store, italicized
rivers of music

 garbled now, lost-making 

I run the roads of us all uncharted                                                                 boundaries blur like the lenses in old movies

I see you smudge-soft in Christmas and

Siamese cats

clouds hide the end of the world

called a nurse by your name, saw your face on a stranger

out of place, out of places, I find you everywhere

the bright arrow that fixes the map of vanished things

You Are Here

and so here I am[31]

Other important works by John Mackey include Asphalt Cocktail (2009), Aurora Awakes (2009), The Frozen Cathedral (2012), and Wine-Dark Sea (2014).

2021 – Concerto for Wind Ensemble Kevin Day

American composer Kevin Day (b. 1996) currently teaches composition at Wilfrid Laurier University in Waterloo, Ontario, Canada. He holds degrees from Texas Christian University and the University of Georgia, and is currently pursuing a DMA in composition at the University of Miami. His mentors include Gabriela Lena Frank, Frank Ticheli, John Mackey, William Owens, Julie Giroux, Marcos Balter, Anthony Cheung, Matthew Evan Taylor, and Valerie Coleman.[32]

Concerto for Wind Ensemble was commissioned by a consortium led by Cynthia Johnston Turner and the University of Georgia. Day’s father was a hip-hop producer in the 1980s, and his mother was a gospel singer. He wanted the piece to reflect his upbringing and the five movements of Concerto for Wind Ensemble incorporate the different musical styles. The third and fourth movements are dedicated to his parents. The movements include:

    1. Flow
    2. Riff
    3. Vibe
    4. Soul
    5. Jam[33]

Kevin Day’s other works for band include A Hymn for Peace (2017), Concerto for Euphonium and Wind Ensemble (2018), and Nitrous (2020).

2022 – Sinfonia Zhou Tian 

Zhou Tian (b. 1981) is a Grammy-nominated Chinese-American composer. He was born in Hangzhou, China, and moved to the United States when he was nineteen to study at the Curtis Institute of Music. He completed graduate degrees at the Julliard School and the University of Southern California. His composition teachers include Jennifer Higdon, Christopher Rouse, and Stephen Hartke. Dr. Zhou currently serves on the composition faculty at Michigan State University.[34]

Sinfonia is the 2022 winner of the ABA Ostwald Prize. It was commissioned by a CBDNA consortium and premiered on April 30, 2022, by the Michigan State University Wind Symphony conducted by Kevin Sedatole. The four movements are:

    1. Noir
    2. Transit
    3. Arioso
    4. D-O-N-E

Dr. Zhou offers the following notes regarding the piece:

Sinfonia seeks inspiration from cultures close to my heart and mixes them into four different movements. It begins nostalgically and ends on a hopeful, uplifting note.

I. Noir.Grainy films and stylized black-and-white images from the 1940s and ’50s inspired this nostalgic throwback. Although it starts brightly, at its core lies the night.

II. Transit.New York City. Subway. Rush hour. Each stop opens to a new soundscape. “Say, did I hear jazz?” someone asks. “STAND CLEAR OF THE CLOSING DOORS, PLEASE,” New York replies.

III. Arioso. Shanghai. Night of the Mid-Autumn Festival. A vocalise was conceived.

IV. D-O-N-E. May 10, 1869. Promontory, Utah. A one-word telegraph was sent across the United States in Morse code, announcing the completion of the first transcontinental railroad. Now the country was connected as never before: a journey between San Francisco and New York that previously took up to six months now took only days. Some 150 years later, that word, “D-O-N-E,” is transformed here into music using the rhythm of the Morse code. Throughout the finale, the “done” motif is passed back and forth by numerous instruments in the orchestra. An accumulation of materials sends the piece to a climax at the end. This movement was adapted from a movement of my orchestral work, “Transcend.”[35]




  1. Clifford N. Towner, An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Second Update (Lincoln, NE: University of Nebraska-Lincoln, 2011). 45.
  2. Ibid. 176.
  3. Frank Ticheli, Symphony no.2 by Frank Ticheli, 2004, https://manhattanbeachmusic.com/html/symphony_no_2.html. Accessed December 30, 2022.
  4. John Corigliano, Symphony No 3, Circus Maximus (New York, NY: G. Schirmer, 2004). 2.
  5. Ibid. 3. 
  6. Ibid. 2.
  7. Susan Botti, “Biography,” Susan Botti, accessed December 30, 2022, https://www.susanbotti.com/bio.
  8. Susan Botti, “Cosmosis,” Susan Botti, accessed December 30, 2022, https://www.susanbotti.com/cosmosis.
  9. Ibid.
  10. Steven Bryant, “Biography,” Steven Bryant, October 25, 2019, https://www.stevenbryant.com/biography. Accessed 12/30/2022.
  11. Steven Bryant, “Ecstatic Waters (Wind Ensemble + Electronics),” Steven Bryant, October 18, 2019, https://www.stevenbryant.com/music/catalog/ecstatic-waters-wind-ensemble-electronics. Accessed December 30, 2022.
  12. Neil Butterworth, Dictionary of American Classical Composers, 2nd ed. (New York, NY: Routledge, 2005).
  13. Unknown, “First Symphony for Band by William Bolcom (USA, 1938),” World Association for Symphonic Bands and Ensembles, September 26, 2021, https://wasbe.org/first-symphony-for-band-by-william-bolcom-usa-1938. Accessed 12/30/2022.
  14. Julie Giroux, “Bio & Discography of Julie Giroux,” Julie Giroux, accessed December 30, 2022, https://www.juliegiroux.org/bio-discs.
  15. Julie Giroux, “One Life Beautiful by Julie Giroux,” Julie Giroux, accessed December 30, 2022, https://www.juliegiroux.org/one-life-beautiful.
  16. John Mackey, “Biography: John Mackey,” Biography | John Mackey, accessed December 30, 2022, https://www.johnmackey.com/biography.
  17. John Mackey, "Wine-Dark Sea: Symphony for Band," Wine-Dark Sea: Symphony for Band | John Mackey, accessed December 30, 2022, https://www.johnmackey.com/music/wine-dark-sea/.
  18. Ibid.
  19. Omar Thomas, “About: Omar-Thomas,” Omar Thomas, accessed December 31, 2022, https://www.omarthomas.com/about.
  20. Omar Thomas, “Of Our New Day Begun: Omar-Thomas,” Omar Thomas Of Our New Day Begun, accessed December 31, 2022, https://www.omarthomas.com/of-our-new-day-begun.
  21. Jim Stephenson, “About Jim Stephenson,” Stephenson Music, accessed December 31, 2022, https://composerjim.com/about/.
  22. Jim Stephenson, “Symphony No. 2,” Stephenson Music, accessed December 31, 2022, https://composerjim.com/works/symphony-no-2/.
  23. Viet Cuong, “About - Viet Cuong: Composer,” Viet Cuong | Composer, December 16, 2022, https://vietcuongmusic.com/about. Accessed December 30, 2022.
  24. Viet Cuong, “Renewal (Wind Ensemble Version) - Viet Cuong: Composer,” Viet Cuong | Composer, May 12, 2021, https://vietcuongmusic.com/renewal-wind-ensemble. Accessed December 30, 2022.
  25. Zhou Long, “University of Missouri-Kansas City,” Conservatory, accessed December 31, 2022, https://conservatory.umkc.edu/profiles/faculty-directory/zhou-long.html#.
  26. Nikk Pilato, “Concerto for Wind Symphony,” Wind Repertory Project, accessed December 31, 2022, https://www.windrep.org/Concerto_for_Wind_Symphony.
  27. Jennifer Jolley, “Bio,” Jennifer Jolley, accessed December 31, 2022, https://www.jenniferjolley.com/bio.
  28. Jennifer Jolley, “The Eyes of the World Are upon You (Score Only),” Jennifer Jolley, accessed December 31, 2022, https://www.jenniferjolley.com/product-page/the-eyes-of-the-world-are-upon-you-score-only-1.
  29. Ibid.
  30. John Mackey, “Places We Can No Longer Go,” Places we can no longer go | John Mackey, accessed December 31, 2022, https://www.johnmackey.com/music/places-we-can-no-longer-go/.
  31. Ibid.
  32. Kevin Day, “Bio,” Kevin Day Music, accessed December 31, 2022, https://www.kevindaymusic.com/bio. 
  33. Kevin Day, Concerto for Wind Ensemble (Murphy Music Press, 2021).
  34. Zhou Tian, “Zhou Tian,” Zhou Tian, accessed December 31, 2022, https://zhoutianmusic.com/about/.
  35. Zhou Tian, Sinfonia (Zhou Tian/First Edition Press, 2022).


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