Meredith Casey

MUSIC 518
25 March 2020
Unit Study: An American Elegy by Frank Ticheli

Unit 1: Composer

Frank Ticheli's music has been described as being “optimistic and thoughtful" (Los

Angeles Times), “lean and muscular" (New York Times), “brilliantly effective" (Miami Herald)

and “powerful, deeply felt crafted with impressive flair and an ear for striking instrumental

colors" (South Florida Sun-Sentinel). Ticheli (b. 1958) joined the faculty of the University of

Southern California's Thornton School of Music in 1991, where he is Professor of Composition.

From 1991 to 1998, Ticheli was Composer in Residence of the Pacific Symphony.

Frank Ticheli's orchestral works have received considerable recognition in the U.S. and

Europe. Orchestral performances have come from the Philadelphia Orchestra, Atlanta

Symphony, Detroit Symphony, Dallas Symphony, American Composers Orchestra, the radio

orchestras of Stuttgart, Frankfurt, Saarbrucken, and Austria, and the orchestras of Austin,

Bridgeport, Charlotte, Colorado, Haddonfield, Harrisburg, Hong Kong, Jacksonville, Lansing,

Long Island, Louisville, Lubbock, Memphis, Nashville, Omaha, Phoenix, Portland, Richmond,

San Antonio, San Jose, Wichita Falls, and others. His clarinet concerto was recently recorded by

the Nashville Symphony on the Naxos label with soloist James Zimmermann.

Ticheli is well known for his works for concert band, many of which have become

standards in the repertoire. In addition to composing, he has appeared as guest conductor of his

music at Carnegie Hall, at many American universities and music festivals, and in cities

throughout the world, including Schladming (Austria), Beijing and Shanghai, London and

Manchester, Singapore, Rome, Sydney, and numerous cities in Japan.

 Frank Ticheli is the recipient of a 2012 “Arts and Letters Award" from the American

Academy of Arts and Letters, his third award from that prestigious organization. His Symphony

No. 2 was named winner of the 2006 NBA/William D. Revelli Memorial Band Composition

Contest. Other awards include the Walter Beeler Memorial Prize and First Prize awards in the

Texas Sesquicentennial Orchestral Composition Competition, Britten-on-the-Bay Choral

Composition Contest, and Virginia CBDNA Symposium for New Band Music.

In 2018, Ticheli received the University of Michigan Alumni Society’s highest honor, the

Hall of Fame Award, in recognition for his career as a composer. He was also awarded national

honorary membership to Phi Mu Alpha Sinfonia, "bestowed to individuals who have

significantly contributed to the cause of music in America," and the A. Austin Harding Award by

the American School Band Directors Association, “given to individuals who have made

exceptional contributions to the school band movement in America." At USC, he has received

the Virginia Ramo Award for excellence in teaching, and the Dean's Award for Professional

Achievement.

Frank Ticheli received his doctoral and master’s degrees in composition from The

University of Michigan. His works are published by Manhattan Beach, Southern, Hinshaw, and

Encore Music, and are recorded on the labels of Albany, Chandos, Clarion, Equilibrium, Klavier,

Koch International, Mark, Naxos, and Reference.

Biography notes by Frank Ticheli

Unit 2: Composition

An American Elegy by Frank Ticheli is a single movement work for concert band graded

as a level four piece. Over a span of 11 minutes, Ticheli expresses the emotions of loss, sorrow,

hope, and healing dealt with after the Columbine High School Massacre of 1999. An American
Elegy (2000) was commissioned by the Columbine Commissioning Fund, a special project

sponsored by the Alpha Iota Chapter of Kappa Kappa Psi at the University of Colorado on behalf

of the Columbine High School Band. Contributors to the Fund included members, chapters,

alumni, and friends of Kappa Kappa Psi and Tau Beta Sigma National Honorary Band Fraternity

and Sorority. The work received its premiere performance by the Columbine High School Band,

William Biskup, Director, Frank Ticheli, guest conductor, on April 23, 2000. Its premiere served

as the centerpiece of a special commemorative concert given by the Columbine High School

Band in conjunction with the University of Colorado Wind Symphony, held at Macky Hall in

Boulder, Colorado.

An American Elegy is, above all, an expression of hope. It was composed in memory of

those who lost their lives at Columbine High School on April 20, 1999, and to honor the

survivors. It is offered as a tribute to their great strength and courage in the face of a terrible

tragedy. I hope the work can also serve as one reminder of how fragile and precious life is and

how intimately connected we all are as human beings.

 Frank Ticheli stated, “I was moved and honored by this commission invitation, and

deeply inspired by the circumstances surrounding it. Rarely has a work revealed itself to me with

such powerful speed and clarity. The first eight bars of the main melody came to me fully formed

in a dream. Virtually every element of the work was discovered within the span of about two

weeks. The remainder of my time was spent refining, developing, and orchestrating.”

The work begins at the bottom of the ensemble's register and ascends gradually to a

heartfelt cry of hope. The main theme that follows, stated by the horns, reveals a more lyrical,

serene side of the piece. A second theme, based on a simple repeated harmonic pattern, suggests

yet another, more poignant mood. These three moods - hope, serenity, and sadness - become
intertwined throughout the work, defining its complex expressive character. A four-part canon

builds to a climactic quotation of the Columbine Alma Mater. The music recedes, and an offstage

trumpeter is heard, suggesting a celestial voice - a heavenly message. The full ensemble returns

with a final, exalted statement of the main theme.

Program notes by Manhattan Beach Music and Frank Ticheli

Unit 3: Historical Perspective

Unfortunately, our culture is not unfamiliar with the tragedies of school shootings. One of

these incidents was an “inspiration” to over 74 copycats around the nation for the most recent

shootings such as Sandy Hook, Parkland, and Virginia Tech (Guy, 2015). At Columbine High

School in Littleton, Colorado, two teens went on a shooting spree on April 20, 1999, killing 13

people and wounding more than 20 others before turning their guns on themselves and

committing suicide. The Columbine shooting was, at the time, the worst high school shooting in

U.S. history and prompted a national debate on gun control and school safety, as well as a major

investigation to determine what motivated the gunmen, Eric Harris, 18, and Dylan Klebold, 17

(History.com, 2009).

The Columbine effects have impacted the United States for the past 20 years. There have

been at least 143 people killed in school shootings and 11 mass school shootings since the

incident at Columbine High School. School security, police emergency procedures, weapon

laws, students with mental illness, and PTSD counseling services have all changed in regard to

the events that occurred on that day in 1999 (Shapiro, 2019). Some students from that day such

as Laura Farber have not been open to communicate about the massacre until this year. Now,

Farber and many others are pushing the national agenda toward gun restrictions and other related

items (Farber, 2019).

 In response to the Columbine High School shooting, Frank Ticheli was commissioned by

the Columbine Commissioning Fund to compose a piece that commemorated the victims and

survivors. Travis Johnson explains the meaning of this commission in his dissertation:

The American Heritage Dictionary (Costello, 1997) defines elegy is “a poem or song

composed especially as a lament for a deceased person (p. 443).” As the title suggests An

American Elegy is a somber work that portrays the grief associated with the terrible

tragedy of the Columbine massacre. Despite the dark tone of the work, Ticheli (2000)

states that this work is “above all, an expression of hope.” (Johnson, 2010).

More background information and program notes of An American Elegy can be found in

the Unit 2: Composition section.

Unit 4: Technical Considerations

An American Elegy demands high musical maturity of the ensemble. From intonation,

tone quality, balance, to dynamic control, Ticheli’s piece challenges the musicality and pureness

of tone in each individual. The musicians participating are stretched to play as they would as

soloists within the ensemble. This piece also requires excellent soloists in the trumpet, oboe,

horn, and alto saxophone sections. In addition, a strong horn and clarinet section is essential to

the introduction of the main theme from the horns and support of the melody and harmony

throughout by the clarinets.

This work is fairly simple in its melodies, ranges, keys, and rhythmic structures.

However, if not executed with outstanding tone production, the effect and legacy of this piece

will not be as strong. It is important for the conductor to express and teach proper breathing,

phrasing, and listening. A solid foundation must be built delicately from the lower parts of the

ensemble to the upper woodwinds. Brass players should pay special attention to their balance in
regard to low woodwind voices in the clarinet and saxophone sections. Listening to one’s section

sound will be important in obtaining a unified sound throughout. Musicians will be familiar with

the conductor’s use of rubato adding elegance to the ends of phrases. This may be a challenge at

first, but clear communication from the podium and musical understanding from the musicians

will tie the piece together.

An American Elegy features both sudden and gradual dynamic shifts. This piece will

challenge performers to gain control of their musical playing by changing phrase lengths and

timbre of each section. The entire piece builds up to a climax point in measures 111-113, which

quotes the Columbine High School Alma Mater, also written by Ticheli after this tragedy.

Afterwards, there are hopeful and triumphant sounding sections with great dynamic contrast. In

these final sections, an offstage trumpet soloist symbolizes the ethereal voices of the victims and

exclaims remembrance, hope, and resolve.

Unit 5: Stylistic Considerations

Notes from Frank Ticheli express that, “An American Elegy is not a reflection of anger

towards the Columbine incident; instead it represents the healing process after significant

tragedy. Three different moods are presented during the piece. Hope, serenity, and sadness are at

the heart of the work, and all three provide the ensemble, conductor, and audience with the

opportunity to explore the relationship between music and our emotions” (Johnson, 2010). The

most important stylistic consideration for this piece is the amount of emotional value every

measure should hold. This is essential for the conductor to analyze and express, as well as the

ensemble members to understand and feel while they perform.

Throughout the work, there are groupings of four eighth or sixteenth notes within the

melody and harmony parts. Every beginning of these should have substantial weight and feeling.
This is a common theme with all accented parts in this piece. Weight represents the sadness and

love for each of the victims in this incident and must be represented properly. With this weight

comes the connection in between phrases. There is hardly a moment of silence until the end of

this piece, which means that each section must plan to sustain all legato phrases to their full

values.

To understand the emotion and style needed to play this piece to its fullest, the conductor

should communicate to the ensemble the history and meaning behind this piece frequently. An

ensemble will not fully be able to grasp the appropriate emotion associated with this music

without this understanding. Ticheli’s score notes on the emotional content of each section can be

found in Unit 7: Form and Structure.

Unit 6: Musical Elements

1. Melody

The melody is passed among all of the wind sections in the band throughout. It is

introduced in the low register of the horn section in the opening measures and closed with

a solo from a horn in its middle range. Most frequently, the melody is played by the

horns, clarinets, saxophones, and flutes. The trumpets are added into the melodic voices

at the climactic and hopeful sections of the piece. The melody in the upper winds is

delicately balanced by low drones from the low brass. This melody hints at the

Columbine High School Alma Mater, specifically at the lyrics of “We are Columbine.”

Occasionally, the melody seems similar to Ticheli’s Shenandoah and Amazing Grace.

The melody is reminiscent of a chorale and has themes of hope, serenity, and sadness.

2. Harmony
 Most of the harmony parts are maintained by the low brass, low woodwinds,

timpani, string bass, and vibraphone. These voices heavily support the phrasing and

cadences of the melody. According to Johnson, “Strong cadences are avoided throughout

the work, and small pieces of connecting material bring the different sections together. In

his own interpretation of the work, Ticheli states that staying away from the tonic in

many instances allows him to propel the piece forward and build a sense of anticipation

(McMurray, 2004). Dissonances and their resolution to consonant sounds provide

tension, pain, and the sense of healing to the music” (Johnson, 2010).

3. Rhythm

The rhythmic structure and motifs of An American Elegy are fairly simple. This

simplicity adds to the layers of delicateness in the melodic lines. As mentioned in Unit 5:

Stylistic Considerations, there are groupings of four eighth or sixteenth notes that provide

weight and emotion to the melodic parts. Other than these groupings, there is one other

moment in the piece that explores outside of half, whole, and quarter notes. At the climax

section in measurers 111-113, the Columbine Alma Mater is directly quoted. There is a

triplet feel on beats three and four of measure 112, despite being written as sixteenth

notes. Several instances of rubato are used to elongate the ends of phrases and stretch as

much musicality out of the music as possible.

4. Timbre

Ticheli expresses varying emotions related to healing after the Columbine

Shooting through the use of instrumentation. Sections are encouraged to play as

expressively as soloists during exposed parts. The piece gradually builds from the low

ranges of all instruments to the middle and upper ranges toward the climax and final main
 theme statement. The low woodwinds, clarinets, and saxophones play almost

continuously throughout the work. These instruments have the capability to easily blend

into the background or shine in the foreground, which makes them an excellent option for

Ticheli’s main focus. Whenever the high brass voices are brought in, the overall emotion

of that section changes to hope, healing, and triumph. Rarely is the entire ensemble

playing simultaneously. These moments are reserved for the climax points and phrases

with strong dynamic markings.

Unit 7: Form and Structure

Measure Section: Musical Considerations: Tonal

Number: Centers:
1-14 Introductio  The introduction, which was composed last, Bb
n begins at the bottom of the ensemble's register,
and gradually ascends to an exalted statement of
hope, setting the tone for the entire work. The
crescendo into measure 9 should not be held
back emotionally.
 Measures 1-14 mark the introduction of the
work. According to Ticheli, everything within
the opening section is building to measure 9 and
should ascend to an “exalted statement of hope
(McMurray, 2004).” Unrepressed energy and
emotions should prevail. Creating the image of a
head being lifted skyward is suggested by the
composer. Finishing the opening section are a
succession of sixteenth notes, see figure 6.4, the
second of which should sound like an echo
(McMurray, 2004). Stretching and emphasizing
the sixteenth notes with rubato will set up the
transition to the main theme in measure 15
15-30 Main  In contrast to the unrestrained energy unleashed Bb
Theme in the introduction, the main theme is more
reflective and serene. In my mind, it suggests the
image of a head bowed in meditation or prayer,
after having been lifted skyward during the
introduction. The horns will bring an understated
reverence and nobility to this melody.
 At measure 15 the Main Theme is presented for
the first time. Reflective and reverent are two
 words that fittingly describe this theme. It should
carry a sense of nobility in the French horns and
should feel serene to the audience and the
ensemble. Allan McMurray (2004) encourages
the conductor to stretch the first two eighth notes
of the horn line. This emphasis sets these two
notes apart from the rest of the phrase. These two
notes are used later as connecting material within
the work. Ticheli (2000) suggests “the image of
a head bowed in meditation or prayer.” to
convey the mood of this theme. At measure 25 a
suspension is placed in the music that Allan
McMurray describes as a “pain suspension
(McMurray, 2004).” Suspended voices should be
brought to the center of attention, and a slow
weighted accent should be attempted verses a
harsh attack. A considerable amount of time was
spent with the ensemble to bring this measure to
life. In the final weeks before the performance, it
became the most powerful measures in the work.
31-46 Episode  The "tempo rubato" indication can be interpreted Bb
in several ways and is left to the discretion of the
conductor. Originally, I tried to show exactly
where the tempo should push ahead and pull
back, but in early rehearsals I found these
indications to be restrictive. Strive for a subtle
elasticity, free and fluid, but not too disruptive.
 52 An Episode, or change of melodic material, is
heard at measure 31. It is left up to the discretion
of the conductor to interpret the elasticity of this
section. A great deal of trial and error was
necessary to gain confidence in this section as an
ensemble, and also as a conductor. In the end,
students were given the freedom to make the
elasticity happen, and super-metric conducting
was adopted by the conductor to remain out of
the way. In measure 39, senza rubato, or without
rubato marks a contrast to the pushing and
pulling of the prior section.
47-62 Main  The main theme is brought back again in Bb
Theme measure 47. After the episode we hear a slightly
faster interpretation of the main theme, and the
change in tempo provides the energy to bring us
to the second theme.
63-96 Second  The second theme is accompanied by a simple Bb and
Theme repeated harmonic pattern (I-V-IV-V) over a Db
 tonic pedal. In measures 71-78, the clarinet
melody and accompaniment should move well
into the background, allowing the oboe
countermelody through. In measures 91-95 the
melodic line vanishes, leaving only its harmonic
framework. Perhaps the theme's absence is more
poignant than its presence. The intended effect is
one of great ethereal beauty. One must observe
carefully the cross-fading dynamics between the
clarinets and saxophones. The saxophones
should not use much vibrato here.
 The beauty of the second theme comes from its
simplicity. Measure 63, the start of the second
theme, provides the listener with I, V, IV, V
chord progressions that give the sense of beauty
and simplicity. Tempo for this section is marked
at c. 96, or approximately 96 beats per minute.
Ticheli cautions against going too slow in this
section and encourages the conductor to maintain
a sense of energy and forward propulsion
(Ticheli, 2000). In the middle of this theme,
measure 71-78 the clarinet and oboe share a duet
that must be carefully balanced. Care should be
taken to keep the oboe voice in the forefront,
while maintaining balance with the rest of the
ensemble (McMurray, 2004). French horns
provide an important line at measure 82 and 83.
An accelerando and crescendo were both written
into the parts to bring us to the climax of this
section (McMurray, 2004). At the end of the
second theme, measure 87, is a saxophone solo.
After four measures of melody, it is taken away,
and the audience is left with only the
accompaniment. The exclusion of the solo voice
represents loss, and Ticheli (2000) states that this
section should be one of “ethereal beauty.”
While the clarinets and saxophones continue to
play without the melody, a pushing and pulling
of dynamics take place, see figure 6.9. Tempo
has been slowed to c. 60, and it is as if time has
slowed while we reflect on the loss (Ticheli,
2000). This accompaniment section was written
out in a function chorale (Melillo, 1980) to be
practiced with the entire band.
97-110 Four-Part  This section functions as one long crescendo, F
Canon moving from quiet lyricism to powerful
 optimism. One must strive to balance the four
canonic voices (flute 1, clarinet 1, horn 1,
euphonium). This becomes even more
challenging as the four lines become reinforced
by other instruments.
 A four-part canon begins at measure 97 and sets
up an ascension to the statement of the
Columbine Alma Mater that is to come. We
begin the canon at the same speed of the
dreamlike section, and while it is not marked,
and slight accelerando seems appropriate as the
band ascends through the instrument ranges.
Allan McMurray (2004) suggests in his
interpretation of the work that the entrances of
different instruments are crying out. Attention of
the audience should be shifted around the band
as each voice is heard. In the end all of them
come together at the climax of the canon into
one unified voice.
 After the climax of the canon in measure 110,
the ensemble has reached the Columbine Alma
Mater. Words to the alma mater at its quotation
in the music are (Ticheli, 2000); “We are
Columbine! We are all Columbine!” A feeling of
unity should be established, and the accented
unison in measure 123 should be emphasized,
weighted, and stretched to maximize its effect.
Allan McMurray (2004) suggests playing the
sixteenths almost slow enough to be conducted
separately. This is followed by a decrescendo out
of the section and a plagal or ‘amen’ cadence
brings this section to a close.
111-113 Climax  The quotation of the Columbine Alma Mater is, F
in effect, a self-quotation. (After learning that
Columbine High School did not have a school
song, I composed one for them, and they adopted
it as their official Alma Mater.) While
composing the present work, I discovered that
one excerpt from the new Alma Mater would
serve beautifully as the dramatic climax - in
effect, joining the two pieces at the hip. (The
excerpt quoted is a setting of the words, "We are
Columbine! We all are Columbine!")
114-117 Bridge  Based on the second theme F
118-127 Variant of  Offstage trumpet solo Bb
Second  This is the emotional heart of the work. The
Theme offstage solo should sound quite distant and
ethereal, even other-worldly. I have found it
insufficient to merely place the soloist backstage
with the stage doors open. The sound is still too
"present" in this configuration.
 Perhaps the most ideal situation would be to
place the soloist offstage with all stage doors
closed and furnished with a television monitor
connected to a camera that is focused directly on
the conductor.
 It is also possible to position the soloist behind
the audience in a lobby or distant balcony. At the
premiere performance, we found that merely
placing the soloist in the top balcony did not
produce the desired distant effect. We solved the
problem by placing the soloist in the lobby
behind the balcony (with the doors partially open
so the soloist could see the conductor onstage).
 Measures 118 and 119 are unmetered. That is,
the conductor should not attempt to conduct the
individual beats of the offstage solo. Rather, his
or her job here is to serve as a cue-giver,
conducting the downbeats of each bar. (The
downbeat of measure 118 marks the release of
the whole notes held in measure 117. The
downbeat of measure 119 marks the release of
clarinet 1, and the entrance of flute 1 and clarinet
3.) The conductor returns to regular metered time
in measure 120.
 I suggest that someone sit in the middle of the
audience section to check the balance between
the offstage soloist and the onstage players.
 Measure 118 marks the off-stage trumpet solo.
Several considerations should be made while
preparing this section. A balance must be found
between the conductor’s cues, and the soloist’s
interpretation of the music. For our performance,
we found that cuing pick-up notes to the next
measure (118 &119) allowed the soloist creative
freedom, and the conductor the control to make
the best musical statement. To capture the
feeling of a great distance that Ticheli asks for in
his performance notes, a trumpet player was
placed outside the auditorium, and performed in
front of a close circuit television. A great deal of
time and care was taken to properly balance the
 trumpet to the ensemble. Ticheli (2000) states
that the solo should feel like it is coming from a
very beautiful place, and at a very long distance.
That voice is telling you that everything is going
to be OK. At the conclusion of the trumpet solo,
the oboe voice should seamlessly take the
melody, and it begins to bring us back from the
other worldly state we have come from. The
introduction of the bass notes completes the
process of grounding the music, and the final
statement of the piece begins (McMurray, 2004).
128-131 Bridge  The initial oboe note should grow imperceptibly Bb
out of the offstage trumpet's final note, gradually
taking over the foreground.
132-end Main  The rising suspension figures from the Bb
theme, final introduction return here. At measure 138, while
statement they are still ascending, the main melody returns.
Both of these musical ideas progress
simultaneously, creating an unsettling tension.
The tension finally resolves as the two ideas
drive to a common goal: the climax at measure
146. The energy recedes in a final moment of
deep, prayer-like reflection.
 During the final statement, measure 132, a
culmination of experiences throughout the piece
come together. Tension is created as both ideas
drive to the climax at measure 146. A ‘pain
suspension’ is seen relative to the main theme.
The pain, or suspension, is missing in the music
at this time, but the audience is still left with the
lingering feelings from earlier in the piece
(McMurray, 2004). As the music draws to a
close, tempos are once again slowed, and the
piece ends in a moment of quiet and somber
reflection.

Musical Notes by Frank Ticheli (Johnson, 2010).

Unit 8: Suggested Listening

An American Elegy, Ticheli https://www.youtube.com/watch?v=EovQC3BBUHs

Columbine High School Alma Mater, Ticheli https://www.youtube.com/watch?v=tkZ393_D5UA

Amazing Grace, Ticheli https://www.youtube.com/watch?v=xnWSv5KGEnA

Blue Shades, Ticheli https://www.youtube.com/watch?v=ZNUui99aSNc

Cajun Folk Songs, Ticheli https://www.youtube.com/watch?v=DhBWQ7iAiOc,

https://www.youtube.com/watch?v=ieNYOAmi65o

Cajun Folk Songs II, Ticheli https://www.youtube.com/watch?v=vlDmYSuWLtI,

https://www.youtube.com/watch?v=5jobe6a8uq0

Shenandoah, Ticheli https://www.youtube.com/watch?v=2eeEL1NK__M

Sun Dance, Ticheli https://www.youtube.com/watch?v=-uhdZ-BMzYE

Vesuvius, Ticheli https://www.youtube.com/watch?v=jVwnkdtJIMw

Unit 9: Additional Resources

“An American Elegy for Concert Band.” An American Elegy by Frank Ticheli, Manhattan Beach

Music,

www.manhattanbeachmusiconline.com/frank_ticheli/html/an_american_elegy.html.

Cullen, Dave. “At Last We Know Why the Columbine Killers Did It.” Slate Magazine, Slate, 20

Apr. 2004, www.slate.com/news-and-politics/2004/04/at-last-we-know-why-the-

columbine-killers-did-it.html.

Farber, Laura. “It Took Me 20 Years to Finally Talk about Surviving the Columbine High

School Shooting.” USA Today, Gannett Satellite Information Network, 18 Apr. 2019,

www.usatoday.com/story/opinion/voices/2019/04/18/columbine-shooting-anniversary-

school-massacre-column/3473084002/.

“Frank Ticheli.” Frank Ticheli | USC Thornton School of Music, University of Southern

California, www.music.usc.edu/frank-ticheli/.
“Frank Ticheli's ‘American Elegy’ Continues to Have Impact.” USC Thornton School of Music,

University of Southern California, 5 May 2019, www.music.usc.edu/frank-tichelis-

american-elegy-continues-to-have-impact/.

Guy, Fiona. “The Columbine Effect and Mass School Shootings.” Crime Traveller, Crime

Traveller Online Resources, 7 July 2018, www.crimetraveller.org/2015/10/columbine-

effect/.

History.com Editors. “Columbine Shooting.” History.com, A&E Television Networks, 9 Nov.

2009, www.history.com/topics/1990s/columbine-high-school-shootings.

Johnson, Travis. An Examination of the Works of Flourish for Wind Band by Ralph Vaughan

Williams, Air for Band by Frank Erickson, An American Elegy by Frank Ticheli, Rough

Riders by Karl King, Arranged by James Swearingen. 2010. University of Oklahoma,

Master of Music. https://krex.k-

state.edu/dspace/bitstream/handle/2097/4586/travisjohnson2010.pdf?sequence=1.

Shapiro, Emily. “20 Years after Columbine, What's Changed -- and What Hasn't -- for School

Shootings in America.” ABC News, ABC News Network, 20 Apr. 2019,

www.abcnews.go.com/US/20-years-columbine-changed-school-shootings-america/story?

id=62248885.

Ticheli, Frank. “Biography.” Frank Ticheli Composer, Frank Ticheli,

www.manhattanbeachmusiconline.com/frank_ticheli/biography.html.