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201112 https://hdl.handle.net/2286/R.2.N.201112 http://rightsstatements.org/vocab/InC/1.0/ All Rights Reserved 2025 109 pages Doctoral Dissertation Academic theses en Knox, Grant Stephen Caslor, Jason Duncan, Jamal Wells, Christi Jay Arizona State University Partial requirement for: D.M.A., Arizona State University, 2025 Field of study: Music Recognized as the “Dean of African-American Composers” by many scholars, William Grant Still Jr.’s compositional output was objectively robust and eclectic. With an output totaling nearly two-hundred works, Still is widely recognized as a symphonic and operatic composer with a keen ability to write for orchestra, voice, and piano. In such praises, however, many who consume Still’s symphonic works do not engage with his masterful writing for winds, and further, neglect his contributions to the wind band medium. Combined with living in an era where legitimacy was not easily obtained as a Black composer, Still’s wind band music is often reduced to a footnote. Recently, Still’s original works for wind band, as well as transcriptions of his popular chamber and symphonic works are receiving ample performance considerations within the wind band repertory. As a result of the evolving musical legacy of Still, analysis and scholarship on his works is as important as its ever been. This document surveys the original compositions and transcriptions for wind band currently in circulation and/or receiving performance consideration by modern wind ensembles. In addition to an analysis of these works, this document will also consider topics of identity, reception, and ethical programming with regard to Still and his place in the wind band repertory. Music Music History African-American Band Black Identity Repertoire transcription Rediscovering William Grant Still: A Survey of Original Wind Band Music, Posthumous Transcriptions, and a Companion Programming Guide