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Informational and inspirational. The Student's Guide to Marching is an exceptional aid for any marcher. Beginners can learn basic marching terms, skills, and exercises that will easily integrate them into any marching group from coast to coast, continent to continent. Mature marchers will get a fresh look at their activity, learning how to better understand their body and getting a peak at a new system of drill cleaning. Over 150 graphics help you along the way. More than just a users' manual, this book will teach you how to teach yourself.

Originally published in 1896, this was an attempt to give a fuller presentation of the Sacred Verse of America than had previously existed; with notes, explanatory and biographical.

Charles Mackay (1814-1889) was a British poet, journalist, and song writer. He was born in Perth, Scotland and educated at the Royal Caledonian Asylum, London, and at Brussels, but spent much of his early life in France. Coming to London in 1834, he engaged in journalism, working for The Morning Chronical from 1835-1844 and then became editor of The Glasgow Argus. He moved to The Illustrated London News in 1848 becoming editor in 1852. He published Songs and Poems (1834), wrote a History of London, and a romance, Longbeard. He is also remembered for his Dictionary of Lowland Scotch. His fame, however, chiefly rests upon his songs, some of which, including Cheer, Boys, Cheer, were in 1846 set to music by Henry Russell, and had an astonishing popularity. Mackay acted as Times correspondent during the American Civil War and in that capacity discovered and disclosed the Fenian conspiracy. His book Extraordinary Popular Delusions (1841) is a popular history of popular folly. The book chronicles and vilifies its targets in three parts: National Delusions, Peculiar Follies, and Philosophical Delusions.

The haunting songs of the First World War still have a powerful emotional impact. These are the funny, bitter, sad and romantic words the soldiers actually sang on the march, in the dug-outs and trenches. Amidst the appalling carnage of the battlefield, the stoic courage and endurance of the ordinary soldiers shines through in songs like No More Soldiering for Me and It's a long, long way to Tipperary. This attractive and evocative book cannot fail to delight and move anyone with an interest in the First World War.

Originally published in 1896, this was an attempt to give a fuller presentation of the Sacred Verse of America than had previously existed; with notes, explanatory and biographical.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

They always win the halftime. Members of the Fightin' Texas Aggie Band, embodying the spirit, camaraderie, and excellence of the school they represent, have marched and played proudly for 125 years. Here is the story of the music, the precision, and the tradition of the exceptional band that marches to the beat pulsing through the spirit of Aggieland. Illustrated throughout with historical and contemporary images, this lively history pays tribute to the bandmasters and musicians who have made this organization the pride of Aggies everywhere. Organized around the tenure of its founder, Joseph Holick, and its directors-Richard J. Dunn, E. V. Adams, Joe T. Haney, Ray E. Toler, and Timothy B. Rhea-the book marches through 125 years of tradition and excellence. From the birth of the band, through the development of its marching style, to its most recent triumphs of precision maneuvers and military music, the story is as bold and bright as the band itself. War years, fish bands, boots, band lyres, corps trips, parades, and other traditions known and loved by former band members and other former students of Texas A&M University fill the book's pages. An appendix lists all of the band's eight thousand-plus present and former members. This is the story of the determination, discipline, and enduring pride that rests deep in the heart of those young men and women who have been tough enough, proud enough, and good enough to be the noble men and women of Kyle.

In Hymns for the Fallen, Todd Decker listens closely to forty years of Hollywood combat films produced after Vietnam. Ever a noisy genre, post-Vietnam war films have deployed music and sound to place the audience in the midst of battle and to provoke reflection on the experience of combat. Considering landmark movies-such as Apocalypse Now, Saving Private Ryan, The Thin Red Line, Black Hawk Down, The Hurt Locker, and American Sniper-as well as lesser-known films, Decker shows how the domain of sound, an experientially rich and culturally resonant aspect of cinema, not only invokes the realities of war, but also shapes the American audience's engagement with soldiers and veterans as flesh-and-blood representatives of the nation. Hymns for the Fallen explores all three elements of film sound-dialogue, sound effects, music-and considers how expressive and formal choices in the soundtrack have turned the serious war film into a patriotic ritual enacted in the commercial space of the cinema.

The Seven Weeks War of 1866 occurred during a golden age of military music in both Austria and Prussia. This study will examine the background to this music, the role of military bands in contemporary culture, their repertoire and their exploits on the battlefield.PART ONE Prussia: the Wieprecht era - the development of military music, the three types of music (infantry, Jaeger and cavalry), and the composition of the respective bands, the Army March Collection, Berlin's golden era: concerts, parades and competitions. PART TWO Austria: the Leonhardt era, bandsmen as "musical missionaries," reforms after 1848, types of music, drum majors and drum dogs, regimental marches, Prussia's unrequited love affair with Austrian music. PART THREE Musicians at war, what came before: the campaign of 1864 in Denmark, Nachod and Skalitz, Koniggratz: the 57th are played into action, Koniggratz: Gottfried Piefke restores his king's morale, the Koniggratzer March: myth and reality, Piefke goes on parade. PART FOUR The repertoire: a brief guide to identifying Prussian and Austrian marches known to have been played at the time, some familiar, some less so. PART FIVE Biographical sketches - Brief biographies of important personalities (Wilhelm Wieprecht, Andreas Leonhardt, Gottfried Piefke, Friedrich Wilhelm Voigt, Heinrich Saro, Georg Faust, Albert Lorenz, Johann Christian Meinberg, Johann Carl Neumann, Gustav Bock, etc). BIBLIOGRAPHY. Fascinating insight into military music in mid-19th-century Europe, and the part it played in the Campaign of 1866. Researched from original German sources, bringing to light many facts hitherto unknown or neglected for many years. Includes a list of recommended CDs and records. This special hardback edition will be produced in a limited numbered edition, signed by the author, of 250 copies

Guide to the Euphonium Repertoire is the most definitive publication on the status of the euphonium in the history of this often misunderstood and frequently under-appreciated instrument. This volume documents the rich history, the wealth of repertoire, and the incredible discography of the euphonium. Music educators, composers/arrangers, instrument historians, performers on other instruments, and students of the euphonium (baritone horn, tenor tuba, etc.) will find the exhaustive research evident in this volume s pages to be compelling and comprehensive.

Contributors are Lloyd Bone, Brian L. Bowman, Neal Corwell, Adam Frey, Marc Dickman, Bryce Edwards, Seth D. Fletcher, Carroll Gotcher, Atticus Hensley, Lisa M. Hocking, Sharon Huff, Kenneth R. Kroesche, R. Winston Morris, John Mueller, Michael B. O Connor, Eric Paull, Joseph Skillen, Kelly Thomas, Demondrae Thurman, Matthew J. Tropman, and Mark J. Walker."

The Spanish Civil War has been the most important, decisive and traumatic event in contemporary Spain, but also one of the most iconic events in the recent history of the Western world. However, musicology has not devoted a great deal of attention to the war of 1936-1939 until very recently. This volume is the first collective book dedicated to music and the Spanish Civil War. The contributions, drawn from musicologists, historians and anthropologists from Spain, Mexico, Australia, and the United States, explore the songs at the front, war soundscapes, propaganda and music policies, censorship, music in prisons, different music genres, exiled composers and critics, musical diplomacy, memory, and Spanish Civil War as a topic in contemporary music.

An advertisement in the sheet music of the song "Goodbye Broadway, Hello France" (1917) announces: "Music will help win the war!" This ad hits upon an American sentiment expressed not just in advertising, but heard from other sectors of society during the American engagement in the First World War. It was an idea both imagined and practiced, from military culture to sheet music writers, about the power of music to help create a strong military and national community in the face of the conflict; it appears straightforward. Nevertheless, the published sheet music, in addition to discourse about gender, soldiering and music, evince a more complex picture of society. This book presents a study of sheet music and military singing practices in America during the First World War that critically situates them in the social discourses, including issues of segregation and suffrage, and the historical context of the war. The transfer of musical styles between the civilian and military realm was fluid because so many men were enlisted from homes with the sheet music while they were also singing songs in their military training. Close musical analysis brings the meaningful musical and lyrical expressions of this time period to the forefront of our understanding of soldier and civilian music making at this time.

This monograph examines the relationship between music and memory as it relates to the Gallipoli Campaign (1915-6). Drawing upon a wide variety of sources in many languages, it explores the multiple ways in which music is employed to remember and to forget, to celebrate and to commemorate a victory (on the part of the Central Powers) and a defeat (on the part of the Allied forces) in the Dardanelles during the First World War (1914-8). Further, it argues that commemoration itself can be viewed as an 'instrument of war'. In particular, it investigates the complex positionality of individual actors during the centennial commemorations of the Gallipoli landings (24 April, 2015) where the Australians and the Turks most notably have employed music to reimagine the past, both nationalities invoking the 'Gallipoli spirit' (tr. 'Canakkale ruhu') to advance a nationalist agenda and a resurgent militarism through the selective memorialization of an imperial past. The book interrogates through music the ambivalent position of minorities. With specific reference to the Irish (amongst the British) and the Armenians (amongst the Ottomans), it shows how song might serve both to articulate a nationalist defiance and an imperialist consensus during a tumultuous period of irredentism. By uncovering the complex pathways of musical transmission, it demonstrates through musical analysis how the colonized could become the colonizer (in the case of the Irish) or a minority might conform to a majority (in the case of the Armenians). Further, the publication looks at the uneasy alliance between the Turks and the Germans. It focuses on a German musician (as an imperial bandmaster) and Germanic entrepreneurs (in the recording industry) who entertained or who served the German Mission in Istanbul. Here, it considers by way of musical composition the shared wish on the part of the Germans and the Turks to create a Lebensraum in Asia.

Music has prehistoric roots and has throughout history been shown to have a significant effect on humankind. Under this premise, our book explains how music has been used in American presidential campaigns during the country's history. We describe the ways that song use has evolved over the last two centuries, including how initial campaign songs took existing music and added new lyrics, how music became more and more intertwined with the campaigns and their messages in the nineteenth century, how campaign songs are now largely taken from existing popular music tunes, and how the Internet is quickly changing music's relationship to presidential campaigns. Ours is ultimately a book about the use of music and American political development, as it describes how political transformations such as America's changing party structure and technological advancements like radio have affected music's use in presidential campaigns.

Told in the words of the musicians themselves, Keeping the Beat on the Street celebrates the renewed passion and pageantry among black brass bands in New Orleans. Mick Burns introduces the people who play the music and shares their insights, showing why New Orleans is the place where jazz continues to grow. Brass bands waned during the civil rights era but revived around 1970 and then flourished in the 1980s when the music became cool with the younger generation. In the only book to cover this revival, Burns interviews members from a variety of bands, including the Fairview Baptist Church Brass Band, the Dirty Dozen, Tuba Fats' Chosen Few, and the Rebirth Brass Band. He captures their thoughts about the music, their careers, audiences, influences from rap and hip-hop, the resurgence of New Orleans social and pleasure clubs and second lines, traditional versus funk style, recording deals, and touring. For anyone who loves jazz and the city where it was born, Keeping the Beat on the Street is a book to savor.

"We should be grateful to Mick Burns for undertaking the task of producing... the only book to cover the subject of what he rightly calls the brass band renaissance." -- New Orleans Music

"A welcome look at the history of brass bands. These oral histories provide a valuable contribution to New Orleans musical history.... What shines through the musicians' words is love of craft, love of culture." -- New Orleans Times-Picayune

"A seminal work about the Brass Bands of New Orleans." -- Louisiana Libraries