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This review of literature examines and compares research on

repertoire selection in the areas of marching and concert band.

Repertoire selection effects every part of the educational process

for band students as the music s elected serves as a vital part of

their curriculum. Marching band and concert band are two

distinct idioms and each has unique concerns that must be

addressed in the repertoire selection process.

Most texts and articles regarding music selection for the

marching band focus on show design with music selection being

 just a component of the overall package. Additionally, recent

research has found that directors play a limited role in the show

design process and frequently rely on the services of

professional arrangers and drill-writers. Other research points to

limited preservice training in marching band techniques leaving

many directors without the necessary skills to design and

implement their own shows.

In the concert band arena the environment is very different. There

are a number of resources available to the director to aid them in

the selection process. A substantial amount of research has

emerged on the subject of a core repertoire for the concert band.

In terms of the selection process, studies found that directors

consider two types of criteria in selecting music: suitability and

quality, with suitability considered to be most important.

This review of literature points to important topics that should be

covered in teacher preparation programs and skills that all band

directors should develop. Additionally, the review highlights

some of the differences between the marching band and concert

band idioms and shows that directors must be prepared to

approach each area with a unique goal structure and process.

Abstract

Marching Band Concert Band

A Review of Literature on Marching Band and Concert

Band Repertoire Selection Emmett O’Leary

Arizona State University

Emmett O’Learyeoleary@asu.edu

Similarities and DifferencesTeacher Education Focusses on Show Design

(Bailey, 2003; Dunnigan, 1998; Foster, 1975; Hewitt, 2000; Tracz, 1987)

Different Levels of Involvement in Repertoire Selection

and Show Design Process from Band Directors

(Laib, 1984; Hewitt, 2000)

Teacher Education

(Tracz, 1987)

Core Repertoire Has Emerged

(Holvik, 1970; Kish, 2005; Olson, 1982; Ostling, 1979; Hughes, 1990;

Leitzel, 2005)

Repertoire Resources Readily Available

(Miles, 1997, 1999, 2000, etc...)

Suitability vs. Quality 

(Carney, 2005)

Repertoire as the Curriculum

Repertoire selection plays a vital role in the quality of a student’s music

education. Repertoire is what the students play and is therefore, for the

most part, what music teachers teach (Reimer, 2002). Students should

perform music of the highest quality (Battisti, 1989; Reynolds, 2000).

Core Repertoire

There is no core repertoire for the marching band. There are no

repertoire lists to aid them in selecting music of high quality. Conversely,

there are no repertoire lists to prevent them from doing new and

innovative things.

Use of Professional ServicesWhere marching band directors are hiring professional arrangers to write

custom music for their groups, concert bands play music that is largely

published and “off the rack.” C ustomized arrangements and drill are

becoming a necessity for many marching bands. There is not an

equivalent demand on concert bands.

Suitability 

Band directors valued suitability over quality in both marching and

concert band settings. One of the main reasons listed for using

professional arrangers in marching bands was making sure that music

was of an appropriate difficulty level and fit the instrumentation of an

ensemble.

Recommendations for

Further Research

• Effective strategies for pre-service training in repertoire

selection

• Extra-musical factors influencing repertoire selection

(competition, performance schedule, ensemble size, etc...)

• Repertoire selection’s importance in the show design

process