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Books > Music > Other types of music > Brass band, patriotic, military & ceremonial music
Ken Matthews was working at the CEGB's Marchwood Engineering
Laboratories near Southampton when, in 1977, a group of his
colleagues, who were keen brass band enthusiasts, started "having a
blow" during their lunchtime break. He went along and was soon
given an instrument and taught the rudiments of playing. It was not
long before this group decided to form a brass band and so
Marchwood Brass performed its first engagement later that year. A
sponsorship deal from Vodafone led to a name change in 1989 and the
band is now well established as the New Forest Brass Band. Ken has
been a playing member of this band ever since it started and, as he
has access to a substantial amount of archive information, he has
been able to write this account which traces the band's history
from its inception to the present day. Along the way, the band has
won many cups and performed in numerous concerts and other events.
Ken has remembered incidents, both humorous and more serious, which
have made his book a personal memoir rather than a chronological
historical treatise.
The transition from the valveless natural horn to the modern valved
horn in 19th-century Paris was different from similar transitions
in other countries. While valve technology was received happily by
players of other members of the brass family, strong support for
the natural horn, with its varied color palette and virtuoso
performance traditions, slowed the reception and application of the
valve to the horn. Using primary sources including Conservatoire
method books, accounts of performances and technological advances,
and other evidence, this book tells the story of the transition
from natural horn to valved horn at the Conservatoire, from 1792 to
1903, including close examination of horn teaching before the
arrival of valved brass in Paris, the initial reception and
application of this technology to the horn, the persistence of the
natural horn, and the progression of acceptance, use,
controversies, and eventual adoption of the valved instrument in
the Parisian community and at the Conservatoire. Active scholars,
performers, and students interested in the horn, 19th-century brass
instruments, teaching methods associated with the Conservatoire,
and the intersection of technology and performing practice will
find this book useful in its details and conclusions, including
ramifications on historically-informed performance today.
The transition from the valveless natural horn to the modern valved
horn in 19th-century Paris was different from similar transitions
in other countries. While valve technology was received happily by
players of other members of the brass family, strong support for
the natural horn, with its varied color palette and virtuoso
performance traditions, slowed the reception and application of the
valve to the horn. Using primary sources including Conservatoire
method books, accounts of performances and technological advances,
and other evidence, this book tells the story of the transition
from natural horn to valved horn at the Conservatoire, from 1792 to
1903, including close examination of horn teaching before the
arrival of valved brass in Paris, the initial reception and
application of this technology to the horn, the persistence of the
natural horn, and the progression of acceptance, use,
controversies, and eventual adoption of the valved instrument in
the Parisian community and at the Conservatoire. Active scholars,
performers, and students interested in the horn, 19th-century brass
instruments, teaching methods associated with the Conservatoire,
and the intersection of technology and performing practice will
find this book useful in its details and conclusions, including
ramifications on historically-informed performance today.
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Marching Band Techniques
(Paperback)
M Gregory Martin, Rachael L. Smolinsky; Contributions by Brian W. Cox
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This book can be used as an accompanying text for the collegiate
marching band techniques course and to help build a successful
marching band program at a high school. Topics include everything
from developing a program handbook to student leadership and adult
staffing, budgets, rehearsal techniques, sample forms, and basic
information regarding the development process of a marching band
show, as well as basic drill design techniques. It also addresses
typical mistakes made by young teachers and offers suggestions on
how to avoid/handle those mistakes. Finally, workbook-style
activities at the end of each chapter help support and reinforce
the material presented.
Bands structured around western wind instruments are among the most
widespread instrumental ensembles in the world. Although these
ensembles draw upon European military traditions that spread
globally through colonialism, militarism and missionary work, local
musicians have adapted the brass band prototype to their home
settings, and today these ensembles are found in religious
processions and funerals, military manoeuvres and parades, and
popular music genres throughout the world. Based on their expertise
in ethnographic and archival research, the contributors to this
volume present a series of essays that examine wind band cultures
from a range of disciplinary perspectives, allowing for a
comparison of band cultures across geographic and historical
fields. The themes addressed encompass the military heritage of
band cultures; local appropriations of the military prototype;
links between bands and their local communities; the spheres of
local band activities and the modes of sociability within them; and
the role of bands in trajectories toward professional musicianship.
This book will appeal to readers with an interest in
ethnomusicology, colonial and post-colonial studies, community
music practices, as well as anyone who has played with or listened
to their local band.
Strategies, Tips, and Activities for the Effective Band Director:
Targeting Student Engagement and Comprehension is a resourceful
collection of highly effective teaching strategies, solutions, and
activities for band directors. Chapters are aligned to cover common
topics, presenting several practical lesson ideas for each topic.
In most cases, each pedagogical suggestion is supported by excerpts
from standard concert band literature. Topics covered include:
score study shortcuts; curriculum development; percussion section
management; group and individual intonation; effective rehearsal
strategies; and much more! This collection of specific concepts,
ideas, and reproducible pedagogical methods-not unlike short lesson
plans-can be used easily and immediately. Ideal for band directors
of students at all levels, Strategies, Tips, and Activities for the
Effective Band Director is the product of more than three decades
of experience, presenting innovative approaches, as well as
strategies that have been borrowed, revised, and adapted from
scores of successful teachers and clinicians.
Strategies, Tips, and Activities for the Effective Band Director:
Targeting Student Engagement and Comprehension is a resourceful
collection of highly effective teaching strategies, solutions, and
activities for band directors. Chapters are aligned to cover common
topics, presenting several practical lesson ideas for each topic.
In most cases, each pedagogical suggestion is supported by excerpts
from standard concert band literature. Topics covered include:
score study shortcuts; curriculum development; percussion section
management; group and individual intonation; effective rehearsal
strategies; and much more! This collection of specific concepts,
ideas, and reproducible pedagogical methods-not unlike short lesson
plans-can be used easily and immediately. Ideal for band directors
of students at all levels, Strategies, Tips, and Activities for the
Effective Band Director is the product of more than three decades
of experience, presenting innovative approaches, as well as
strategies that have been borrowed, revised, and adapted from
scores of successful teachers and clinicians.
Bands structured around western wind instruments are among the most
widespread instrumental ensembles in the world. Although these
ensembles draw upon European military traditions that spread
globally through colonialism, militarism and missionary work, local
musicians have adapted the brass band prototype to their home
settings, and today these ensembles are found in religious
processions and funerals, military manoeuvres and parades, and
popular music genres throughout the world. Based on their expertise
in ethnographic and archival research, the contributors to this
volume present a series of essays that examine wind band cultures
from a range of disciplinary perspectives, allowing for a
comparison of band cultures across geographic and historical
fields. The themes addressed encompass the military heritage of
band cultures; local appropriations of the military prototype;
links between bands and their local communities; the spheres of
local band activities and the modes of sociability within them; and
the role of bands in trajectories toward professional musicianship.
This book will appeal to readers with an interest in
ethnomusicology, colonial and post-colonial studies, community
music practices, as well as anyone who has played with or listened
to their local band.
The first study of the performance practice, repertoire and context
of the modern 'brass ensemble' in the musical world. Whereas the
British 'brass band' originated in the nineteenth century and
rapidly developed into a nationwide working-class movement, the
perceived modern 'brass ensemble' has a less clear foundation and
identity. This book is the first to focus exclusively on the
performance, practice, repertoire and context of the 'brass
ensemble' in the musical world. Following World War II, the brass
quintet and other orchestral groupings emerged in the United States
and Europe, with musical customs established by professional
players playing orchestral instruments. These groups initially
played a combination of the music of Gabrieli and his
contemporaries as well as newly commissioned works. By the late
twentieth century, however, repertory spanned works by Elliott
Carter, Maxwell Davies and Lutoslawski, together with music that
integrated jazz, commercial elements, and landmark transcriptions.
At the book's heart is the story of the London-based,
internationally acclaimed, Philip Jones Brass Ensemble. But this is
not a story of one ensemble, as the 'brass ensemble' can be defined
in several forms. The Modern Brass Ensemble in Twentieth-Century
Britain offers a comprehensive account by an author and performer
who was involved in many of the key developments of the modern
'brass ensemble'.
In A Singing Approach to Horn Playing, author and renowned
teacher-musician Natalie Douglass Grana develops the fundamental
sense of pitch that is essential to play the horn. The book begins
with simple songs to sing on solfege, buzz on the mouthpiece, and
play on the horn, followed by inner hearing, transposition, and
polyphonic exercises. Readers learn to fluidly hear the notes on
the page before playing them, through sequential exercises with
songs, improvisation, stick notation, and duets. Training continues
with progressively challenging melodies, including canons as well
as vocal etudes (solfeggi) like those of Giuseppe Concone. Finally,
hornists apply their musicianship skills to standard etude, solo,
and orchestral horn repertoire. Horn parts are provided with
important lines from the orchestra or accompaniment, transposed to
also be sung and played on the horn. Accompanying rhythmic and
harmonic exercises enable performers to learn to hear the parts
together as they play. Through a wide-ranging synthesis of theory,
practical advice, and exercises, Douglass Grana puts forth a
crucial guide for a new generation of horn players and burgeoning
musicians seeking to improve and perfect their sense of pitch.
A Festive Overture received its world premiere on 23rd March 2002
at the BASBWE International Conference, Royal Northern College of
Music, Manchester by the Central Band of the RAF, conducted by Wing
Commander Rob Wiffin. The outer sections are busy and colourful,
framing an expansive middle section, where Hesketh introduces a
typically broad melody. Brass Band Grade 6: Championship Duration:
7 minutes
This is an extremely thorough 4 volume guide to the regimental
march tunes and other parade music which inspired loyalty, pride
and battlefield motivation for generations of Germans over three
centuries. Built around a translation of the previously unpublished
works of two great German military music historians, the late
Lieutenant Colonel Joachim Toeche-Mittler and Lieutenant Colonel
(Retd) Werner Probst, it describes the history of every march in
the official collections sanctioned by successive kings of Prussia,
German Emperors, and later by Chief Inspectors of Music of the
German Republic and Third Reich. This work is no apology or eulogy
for a militaristic culture now long gone amongst the German people,
but a description of the international and home sources for the
march repertoire, and the personalities involved in composing,
commissioning, and dedicating marches to the leading personalities
of the age, and their adoption as regimental music by the fighting
units of Prussia and the other Old German States, Imperial Germany,
and the later German Reich and Post War Republics of East and West
Germany. The series will provide information about how the
regimental bandsmen and signaller musicians on fife, drum and bugle
paraded and performed this repertoire, the manufacture and
embellishments of their instruments, Schellenbaum 'Jingling
Johnnies' and Drum Majors' Staffs, and their employment and
deployment in the ranks of the fighting units on parade and in
battle. After a short introduction, Volume 1 concentrates on the
vast official Royal Prussian collection of'regimental' and
'neutral' quick marches. Translated from previously unpublished
original research by the late Luftwaffe Lt. Col. Joachim
Toeche-Mittler, it provides a definitive description for each
march, its composer, and how and by whom it was used, in many cases
on campaign as well as on parade. With only one exception before
1914, every Prussian, and most non-Prussian regiments, had their
regimental march from within this collection.
America: "Land of the free and the home of the brave." The United
States has long been using song as a way of capturing its unique
identity. Now, in one volume, official songs from every state
(except Michigan and New Jersey, which have no official song) have
been compiled. This text is a tremendous resource, from which
readers will gain insight into the heritage of American statehood.
Histories of these songs, biographical information about the
composers and lyricists, and background on each song's entrance
into status as "official" make this source the most comprehensive
in existence. The entries include sheet music, allowing readers to
reproduce for themselves the tunes that have proved so important in
the history of the Union. Music teachers, history teachers,
librarians, and anyone else interested in learning more about the
United States will not want to be without State Songs. Organized
alphabetically by state.
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 Complete Marching Band Resource Manual is the definitive guide
to the intricate art of directing college and high school marching
bands. Supplemented with musical arrangements, warm-up exercises,
and over a hundred drill charts, this manual presents both the
fundamentals and the advanced techniques that are essential for
successful marching band leadership. The materials in this volume
cover every stage of musical direction and instruction, from
selecting music and choreographing movements to improving student
memorization and endurance to the creation of striking visual
configurations through uniform and auxiliary units. Now in its
third edition, The Complete Marching Band Resource Manual has been
thoroughly updated to reflect new standards for drill design,
charting, and musical arrangement. Offering a fresh approach to the
essentials of good marching band design, this comprehensive
resource shows both veteran and novice band directors how to
prepare students to perform seamless and sophisticated musical
formations.
The seeds of irreverent humour that inspired the likes of "The
Wayne and Shuster Hour" and "Monty Python" were sown in the
trenches of the First World War, and The Dumbells--concert parties
made up of fighting soldiers--were central to this process.
"Soldiers of Song" tells their story.
Lucky soldiers who could sing a song, perform a skit, or pass as
a "lady," were taken from the line and put onstage for the benefit
of their soldier-audiences. The intent was to bolster morale and
thereby help soldiers survive the war.
The Dumbells' popularity was not limited to troop shows along
the trenches. The group managed a run in London's West End and
became the first ever Canadian production to score a hit on
Broadway. Touring Canada for some twelve years after the war, the
Dumbells became a household name and made more than twenty-five
audio recordings. If nationhood was won on the crest of Vimy Ridge,
it was the Dumbells who provided the country with its earliest
soundtrack. Pioneers of sketch comedy, the Dumbells are as
important to the history of Canadian theatre as they are to the
cultural history of early-twentieth-century Canada.
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 carefully-researched book is the culmination of over ten years
of research by local musician and teacher, Eric Johnson. It traces
the history of brass bands around Staffordshire and Derbyshire from
the 1930s to the present day, including the Newhall Band, Tutbury
Silver Band, Gresley Old Hall Band, Swadlincote Salvation Army
Band, Utoxeter Brass Band and Derwent Brass Band. This fascinating
collection of photographs and first-hand accounts recall bands
whose members survived the Second World War to regroup afterwards
and those which have recently formed.
There were approximately 7,000 full-time bandsmen serving in the
British army in the interwar years. This was about a third of the
total number of musicians in the music profession in the United
Kingdom, making the War Office the largest single employer of
professional musicians in the country. British army musicians were
a key stakeholder in the music industry in the United Kingdom, but
also farther afield, where it made a significant contribution to
the maintenance of British imperial authority. To sustain the large
number of bands, residential institutions provided young boys for
recruitment into the army as bandsmen and, as a consequence, the
army set the standard for musical training and performance. The
music industry relied upon the existence of army bands for its
business and the military played a significant part in the adoption
of an international standard of musical pitch. Nevertheless, there
was a tempestuous relationship between army bands and the BBC, as
well as the recording industry as a whole. Using untapped sources
and original material, Major David Hammond reveals the role and
soft power influence of British army music in the interwar years.
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