Relevant bibliographies by topics / Brass band music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Brass band music'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Brass band music"

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Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (November 22, 2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.

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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to address this lack by offering a comprehensive account of the contemporary situation of brass band music in Ghana. I trace the history of this musical world and explore the diverse ways military and missionary activities have shaped amateur brass band musical activities in Ghana. I discuss the distribution and band formations across Ghana, viewing it in five sections that detail different types of brass bands; church, town, service, school and “sharbo” bands. I continue by looking at the beginning, development, workings and indigenisation of European military music in local popular culture and provide an account of brass band music as observed in Ghana today. I argue that indigenisation is not a straightforward process of adaptation, rather, indigenisation is a process of ongoing aesthetic tensions and differences resulting in new musical forms and new forms of socialisation organised around musical performance.
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Jacobs, Arthur, Elgar Howarth, and Patrick Howarth. "Brass Band." Musical Times 130, no. 1752 (February 1989): 91. http://dx.doi.org/10.2307/966367.

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Herbert, Trevor. "The repertory of a Victorian provincial brass band." Popular Music 9, no. 1 (January 1990): 117–32. http://dx.doi.org/10.1017/s0261143000003779.

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Considerable time and print has been expended in attempting to define and date the first British brass band. This controversy should take a subordinate place to the more interesting questions that can be applied to the topic of brass bands when, unambiguously, they do exist as a fairly widespread activity and can reasonably be regarded as the active embryo of the standard ensembles which eventually formed the brass band ‘movement’.
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Pertl, Brian G., Rein Spoorman, Rob Boonzajer Flaes, Ernst Heins, G. Hobbel, and Miranda van der Spek. "Frozen Brass: Asia. Anthology of Brass Band Music #1." Ethnomusicology 40, no. 1 (1996): 149. http://dx.doi.org/10.2307/852457.

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Dodrill, Christopher. "The New Columbian Brass Band." American Music 16, no. 3 (1998): 368. http://dx.doi.org/10.2307/3052651.

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Robinson, Richard J. B. "Mozart and the Brass Band." Musical Times 133, no. 1795 (September 1992): 440. http://dx.doi.org/10.2307/1002362.

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Stepanova, Anna. "Modern brass band: its components and activities." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2022, no. 1 (138) (March 17, 2022): 37–42. http://dx.doi.org/10.24195/2617-6688-2022-1-5.

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The article covers the modern composition of a brass band, the main musical instruments that make up performing groups; the features of sound, range, tessitura of traditional musical instruments. Attention is also paid to the peculiarities of brass band leadership and professional skills of the conductor. One of the main differences of a brass band is the possibility of its use outdoors. Its powerful and loud sound does not need to be amplified by various technical devices – microphones, etc. Therefore, this type of performance of wind music is used mainly to accompany the solemn processions of various kinds, as well as to perform dance music. The highest type of brass band is the "large mixed brass band", which has the ability to perform works of considerable complexity. The composition of the "large mixed brass band" has been characterised, first of all, by the introduction of three or four trombones, three parts of trumpets, four parts of horns. In addition, the "large mixed brass band" has a much more complete group of wooden wind instruments, consisting of three flutes (piccolo flute and two large flutes), two oboes, the English horn, a large group of clarinets with their varieties, two bassoons, contraphagot and saxophones. To provide low-register sounds, helicons are introduced into the "large mixed brass band" – a low-sounding brass instrument arranged in a circle. In the modern composition of the orchestra helicons are replaced by tubes. The effective functioning of the brass band and its management is a historically established process of a special kind of musical and creative activity, which includes constructive and technical inventions of musical instruments, skills and abilities of performance, effective management of the orchestra through professional, communicative and personal qualities of the orchestra leader (conductor).
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Rumbolz, Robert C. "An African Brass Band." Ethnomusicology 52, no. 3 (October 1, 2008): 513–15. http://dx.doi.org/10.2307/20174624.

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Bythell, Duncan. "Provinces versus metropolis in the British brass band movement in the early twentieth century: the case of William Rimmer and his music." Popular Music 16, no. 2 (May 1997): 151–63. http://dx.doi.org/10.1017/s0261143000000349.

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In recent years, historians have belatedly recognised the growth of the British brass band as one of the most remarkable developments in the sphere of popular music-making in the second half of the nineteenth century. Not only did ‘banding’ provide an absorbing pastime for tens of thousands of amateur musicians, but brass band performances also fulfilled an important cultural and educational role in introducing the standard classics of the bourgeois musical canon to mass audiences who never saw the inside of an opera house or a concert hall. In addition, satisfying the needs of these new-style bands for music, instruments, uniforms and other impedimenta led to the growth of a group of small, specialised and resourceful enterprises which successfully developed a mass market for their wares in Britain and the colonies. By the end of the 1890s, there could have been few towns or villages, whether in the remoter parts of the British Isles or even the most far flung corners of the white dominions, where some kind of brass band did not add its distinctive tones to the annual cycle of formal and informal events which made up their community's social calendar.
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Kaminski, Joseph S. "Fujianese Provincial Brass Band Traditions of Chinese Immigrant Musicians in New York City: The Chinese Voices." IKONI / ICONI, no. 4 (2021): 77–96. http://dx.doi.org/10.33779/2658-4824.2021.4.077-096.

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This article focuses on the Chinese Voices Wind Orchestra. Fujianese brass band musicians immigrated to New York and changed Chinatown’s musical soundscape. The bands perform mainly inside or on the street outside of funeral parlors on Canal and Mulberry Streets. Their profession is mainly that of a funeral musician. They also travel to Philadelphia or Washington, D.C. for rites. They accompany families and decedents to cemeteries to play special repertoire. After the burial they perform songs of prosperity at receptions in restaurants. They maintain a wide repertoire of funeral songs and national marches. Funeral performances are a hidden music tradition performed at a sacred place for a sacred function, not intended for the public. Passers-by though observe bands performing outdoors when a coffin is brought to the hearse. There is a display of music and drama at this moment, for bands’ sounds transform the Downtown neighborhood into a Taoist aura. Bands came to perform adjacent to traditional Chinese instruments and at funerals as early as 1908, during the late Qing Dynasty influenced by the European imperial tradition. Today Chinese brass bands are transnational, and Fujianese bands bring the genre of a European brass band to New York in a Chinese interpretation of nationalism.
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Dissertations / Theses on the topic "Brass band music"

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Kahler, Elyse T. "Brass Band History and Idiomatic Writing in Brass Music." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271838/.

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The purpose of this research was to explore historical perspective of brass music. There is a brief history of brass bands in Britain. Furthermore, the paper examines the differences between two brass band pieces in the repertoire, A Western Fanfare by Eric Ewazen and Brass Symphony by Jan Koetsier. Both of these pieces were compared and contrasted against the author's newly composed work for brass, Two Companion Pieces for Brass Ensemble. The paper covers different techniques commonly used in brass writing and points these techniques out in all three pieces.
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Driscoll, Matthew Thomas. "New Orleans brass band traditions and popular music : elements of style in the music of mama digdown's brass band and youngblood brass band." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3287.

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This is research on the New Orleans Brass Band tradition. How popular music has influenced the bands repertoire and the style of music has been transferred to other areas of the country resulting in the formation of hybrid bands. Madison, Wisconsin is an area with two popular brass bands that began by studying the New Orleans brass bands' culture and music. Those bands are Mama Digdown's Brass Band and Youngblood Brass Band. Mama Digdown's is a brass band that performs original music in the traditional styles and forms of New Orleans brass band. Youngblood Brass Band started because Mama Digdown's inspired them and began playing shows with Digdown's and eventually broke away to form their own band. They wanted to push the limits of the New Orleans brass band instrumentation by incorporating hip-hop, rap, jazz, 1980's pop music, rock, and heavy metal that is rolled up into an intense brass sound.
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Graham, P. "Music for brass band ; Music for wind orchestra ; Critical commentary." Thesis, University of Salford, 1999. http://usir.salford.ac.uk/26693/.

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The pieces [on this recording] guide the listener along a 15-year musical time-line, from his first major brass band composition, Dimensions, to his latest work, On Alderley Edge.' When I first read those comments in late September 1997 I realised that the works being reviewed represented a distillation of my compositional practice. As I write these words eighteen months later it occurs to me that in fact twenty years have passed since my first composition for brass band, a concert march, was written and subsequently published by the Salvation Army. Being brought up in the Salvation Army it was almost inevitable that I would join the local corps brass band and ultimately arrange and compose music for it. Despite receiving piano and theory lessons independently it was my musical experiences within the Salvation Army, as brass performer, singer, pianist, conductor and arranger, which I now believe have shaped my approach to composition. The majority of Salvation Army music is functional, providing both accompaniment to congregational singing and concert music at various levels of difficulty (a latter-day gebrauchsmusik perhaps). Almost exclusively tonal, the music serves to communicate with audiences and rarely exploits what may be considered the more esoteric twentieth century compositional techniques. There are obvious parallels with many of the functional test-pieces contained in this collection, though the music under review here is not unique in this respect ... for the most part, brass bands play fine and rarified proletarian music. Fundamentally it is the need to communicate which I believe is the key part of my compositional make-up. This in turn dictates what some may consider the conservative style of most of this music. That is not to say that I believe the music should stand still in terms of some kind of musical 'time-warp'. I have a particular sympathy with the view held by Philip Wilby, that: Composing for brass bands demands that there is a consensus between the composer, players and audience. With each new test-piece the composer can provide the audience with increasing demands without repelling them. If you break this consensus then I'm afraid it doesn't work and you are back to square one. In deciding which works to include in the collection, a number of factors came into play. The degree 'by published works' is without precedent at Salford and, perhaps inevitably, the publications bestride the previously mentioned musical time-line of around fifteen years. Another factor in determining the choice of material was the decision that the collection should be seen to both relate to current Music Department teaching and research, and satisfy the criteria outlined in the University Regulations: 1. That the collection be a "coherent" body of work and a natural extension of the portfolio requirements of the MA compositional studies programme at Salford; 2. That the collection be seen to foster an ethos in which band styles are seen as susceptible to the same serious and dedicated study as accorded to classical "art" music genres. Both brass and wind works are included, the brass music being genre type contest pieces of the kind previously discussed. The characteristics of the latter include the exploitation of specific instrumental techniques (triple-tonguing etc.) and wide dynamic, stylistic and tempo ranges. These parameters are dictated by the rules and pragmatics of contests and may appear to present an unacceptable restriction of compositional freedom. Ironically, my experience has been that, confronted with such a wide range of constraints, the creative process is actually strengthened. This experience is one which is not uncommon to composers of all kinds: ... my freedom will be so much the greater and more meaningful the more narrowly I limit my field of action and the more I surround myself with obstacles. Whatever diminishes constraint, diminishes strength. The more constraints one imposes, the more one frees one's self of the chains that shackle the spirit. Technical challenges aside, the works demonstrate a range of compositional techniques including exploration of colour and texture, symphonic argument embracing tonal conflicts and resolutions and (briefly) more contemporary techniques including minimalism and aleatory music. It is with these points in mind that the following works are presented: Brass Band Dimensions (1983) 9' Symphonic Study No. 1 Boosey & Hawkes Prisms (1988) 13' Symphonic Study No. 2 Rosehill Music Publishing The Essence of Time (1990) 13' Variations Rosehill Music Publishing On Alderley Edge (1997) IT Tone Poem Gramercy Music Publishing Wind Band Symphony for Winds (1998) 17' Rosehill Music Publishing Pentium (1998) 6' Overture Gramercy Music Publishing.
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Hosler, Ned Mark. "The brass band movement in North America : a survey of brass bands in the United States and Canada /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487776210793062.

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French, Gillian. "Follow the band : community brass bands in the Scottish Borders." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9482.

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This thesis presents research into the history and contemporary context of brass bands in the Scottish Borders. It discusses how the survival of the brass bands in the Scottish Borders can be accounted for over the last 150 years, in particular with regard to the continuity of their interaction with the community which has enabled them to overcome cultural, social and demographic changes. The textile industry which provided a stimulus for the formation of the brass bands in the nineteenth century has largely disappeared, but the traditional role of the bands has been carried forward to the present day. Previous study of the social and cultural history of the brass band movement has concentrated on the history of brass banding in the North of England. Although research into the history of brass bands has been carried out in other areas of Britain such as the South of England this is the first in-depth study of these bands in a region of Scotland. This research follows previous studies of amateur music-making in specific locations by studying in detail the brass bands that exist in seven towns and one village of the Scottish Borders where the bands can date their formation to the mid-nineteenth century. Historical and archival research has provided most of the data relating to the first hundred years, including the use of individual band archives, local newspaper archives and museum records. Ethnographic methods, including interviews and participant observation, have provided the data for more recent times. Details of brass band repertoires have been extracted from various sources including musical examples taken from individual band libraries. A central research finding is the strong relationship of the brass bands with their local communities, particularly the support given to the bands by local people and the way in which the bands support their communities by providing music for civic and community events. The close relationship of the brass bands with their local communities has been fundamental in providing the means by which the bands have been sustained over time. There is a strong Scottish Borders identity that links the towns, especially through family ties, and this is also found in a musical repertoire with songs that are specifically connected to the region and to individual towns. By playing this music for civic and community events, especially at the time for the Common Ridings which are annual events unique to the Scottish Borders, the brass bands have provided a service to the community which has ensured their survival.
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Frederickson, Matthew L. "Standards in the studio how are the National Standards for Music Education implemented within the collegiate low brass studio? /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4789.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 27, 2007) Vita. Includes bibliographical references.
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Taylor, Howard David. "Examining the Professional Practice of Brass Band Conducting." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366344.

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After 10 National Championship wins as Musical Director of Brisbane Excelsior Brass Band, the author is often asked several questions: What does a conductor need to know to be successful on the contest stage? What needs to be done to remain at the top of the game for such a long period? What does the author do differently to others? The answers to these questions lie in understanding the various roles of the brass band conductor, and how these roles are realized in the author’s professional practice. There has been very little research done on maintaining the competitive edge over time despite other changeable factors and players. An understanding of the ongoing responsibilities of a musical director may help minimize the impact of socio-cultural changes within the band community following successive wins at a national level or a change of director. This study investigates the role of the musical director by reflecting on the responsibilities and practices of successful directors and analyzing the personal characteristics and interpersonal relationships with band members through autoethnography and interviews with other directors. Attention has also been paid to the administrative support and team dynamics within the Brisbane Excelsior community. For Brisbane Excelsior, the study found that the combination of the musical director’s ongoing self-reflection, consistent methods over 14 years (2002–2016), and intrinsic personal characteristics created an environment where band members strove to succeed, and were challenged to maintain a very high standard of playing.
Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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Lewis, Joseph M. Jr. "The Development of Civil War Brass Band Instruments into Modern-Day Brass Band Instruments with a Related Teaching Unit For a High School General Music Course." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431035985.

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Childs, Nicholas J. "DMA portfolio." Thesis, University of Salford, 2002. http://usir.salford.ac.uk/26614/.

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I have chosen to be assessed as an interpreter and conductor of New Music for British Brass Band. This critical evaluation represents a summary of my work on the four required projects of the DMA course, in which I hope to demonstrate a high level of creative interpretation. This evaluation will also demonstrate my ability to show original insights into certain musical works and formulate sound critical judgments in order to elicit performances which have been critically acclaimed by my peers within this chosen medium. Project One aims to demonstrate a capacity for producing perceptive and imaginative musical interpretations in preparing and conducting the first commercial recording of brass music of Arthur Butterworth (DOYCD130). As will be argued elsewhere, Butterworth is a nationally recognized figure with a wide range of musical publications, and this recording includes four world premiere recordings of the composer's work and a new commission, Sinfonia Concertante. Project Two is a further CD recording entitled The Brass Music of Michael Ball 1 (DOYCD135). This presents a programme of highly crafted pieces of the composer's wide style and approach. There are five world premiere recordings which offer new insights into the composer's work as well as new interpretations of his work in fine performances. This project also includes an examination of a new work, A Cambrian Suite, jointly commissioned by the Black Dyke Band and the Brass Band Heritage Trust, first performed at the Royal Concert Hall at the RNCM on the 18th February as part of the Festival of Brass 2002. Project Three consists of two live recordings, produced digitally, and stored on single Compact Discs. The two works Sinfonia Concertante Arthur Butterworth and Atlantic Philip Wilby were premiered respectively at the Harrogate International Music Festival, July 28 th 2001 and The Festival of Brass January 18th 2002. Both these composers enjoy high status as nationally recognised composers, and their premiere performances offer significant first insights into the works in question. I would argue that this demonstrates a capacity for eliciting imaginative musical interpretations from a highly talented group of musicians. During my DMA registration I have performed ten world premieres: Masque, Danceries, and Alchymist's Journal by Kenneth Hesketh., Sinfonia Concertante Opus 111 by Arthur Butterworth, Atlantic and Concerto 1945 by Philip Wilby, Call of the Cossacks by Peter Graham, The Sword and the Crown by Edward Gregson, A Cambrian Suite by Michael Ball and Trombone Concerto by Martin Ellerby. This range of performances displays my commitment to developing the repertoire of the Brass Band Movement. I have also undertaken eight studio recording projects, The Eternal Quest QPRL 21 ID, The Essential Dyke Vol. Ill DOYCD121, Spectacular Classics Vol. IIOBR876, The Music of Arthur Butterworth DOYCD130, The Music of Michael Ball DOYCD135, Black Dyke Plays Verdi OBR883, The Heaton Collection SP&S100, Call of the Cossacks DOYCDI38. These projects represent an endeavour to unveil and demonstrate the level of expertise and flexibility available in the current British Brass Band movement, which draws its influences from sources as diverse as Classical, Contemporary, Popular, and World Musics. Project Four A public performance will be given by the Black Dyke Band conducted by myself as part of the National Brass Band Championship of Great Britain, in the Royal Albert Hall on 19 th October 2002. This will give the examiners the opportunity to judge my abilities for themselves.
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Crawford, Joel M. "Performance Practice of Brass Band Music of the American Civil War: A Perspective from Saxton's Cornet Band." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/53.

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This project examines source materials, methods, and instruments required for creating an informed period performance of military brass band music from the American Civil War. The rapid development of brass bands in America combined with the volatility of the war meant that much of the development of these styles were not formally documented. To compound this problem an instrumentalist trained on modern instruments who plays on an instrument from the period will produce a sound highly colored and influenced by their sound concept on a modern instrument. Experience with the instrument and attention to their idiosyncrasies will offer the closest possible sound to bands in the Civil War era. This project examines primary musical sources as well as considerations on how to properly approach a period performance of brass band music of this era. Central to this examination is the author's training and experience as a member of the Civil War period performance ensemble Saxton's Cornet Band.
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Books on the topic "Brass band music"

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Mutum, Tim. Brass band recordings. Baldock: Egon, 1991.

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Centre, Australian Music. Brass music. Grosvenor Place, N.S.W: Australian Music Centre, 1997.

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Andersen, Birgit. Dansk brass band: En statusrapport om repertoire og støttemuligheder. Aarhus: Aarhus Universitet, 1985.

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Flaes, Robert M. Boonzajer. Brass unbound: Secret children of the colonial brass band. 2nd ed. Amsterdam: Royal Tropical Institute, 2001.

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Newsome, Roy. Brass roots: A hundred years of brass bands and their music, 1836-1936. Aldershot: Ashgate, 1998.

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Hukporti, Frank Kwashie. Military band in Ghana: A historical inquiry. Göttingen: Sierke, 2014.

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Howarth, Elgar. What a performance!: The brass band plays. London: Robson, 1988.

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Centre, Australia Music, ed. Catalogue of Australian brass and concert band music. Sydney: Australia Music Centre, 1985.

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Watson, J. Perry. The care and feeding of a community British brass band. Farmingdale, N.Y: Boosey & Hawkes, 1986.

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Kajita, Seishichi. Bōchō suisōgakushi: Perī kantai raikō kara daijūhachikai Kokumin Taiiku Taikai made. Yamaguchi-shi: Kajita Seishichi, 1989.

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Book chapters on the topic "Brass band music"

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King, Richard. "Recording Wind Symphony and Brass Band." In Recording Orchestra and Other Classical Music Ensembles, 139–42. 2nd ed. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-21.

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"'"Band" invariably meant "brass band"..." In Community Music in Alberta, 41–56. University of Calgary Press, 1999. http://dx.doi.org/10.1515/9781552383148-006.

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Newsome, Roy. "Popular band music in the twentieth century." In Brass Roots, 162–77. Routledge, 2019. http://dx.doi.org/10.4324/9780429027673-9.

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Newsome, Roy. "Published brass band music in the nineteenth century." In Brass Roots, 93–115. Routledge, 2019. http://dx.doi.org/10.4324/9780429027673-6.

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Newsome, Roy. "Unpublished nineteenth-century brass band music and the development of instrumentation." In Brass Roots, 70–92. Routledge, 2019. http://dx.doi.org/10.4324/9780429027673-5.

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Herbert, Trevor. "God’s Perfect Minstrels: The Bands of the Salvation Army." In The British Brass Band, 187–216. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166986.003.0006.

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Abstract Your temptation will be to play what is pleasing, what will bring out the music, what will impress the people with its charm—and with the ability of those who produce it. But beware! Let us have good music, but music which has a message in it. Tunes that whenever and wherever they are sung will bring God, and Calvary, and Eternity nearer. In January 1992, a press release was issued from the International Head-quarters of the Salvation Army in London: ‘The Salvation Army, after more than a hundred years, is scrapping the regulation, which has prevented its instrumental music from being sold to, or performed by, non-Salvation Army musicians. For too long The Salvation Army has had a ghetto mentality when it comes to music.’ It went on to announce the abolition of all restrictions on the sale and consumption of Salvation Army music. This meant that, for the first time since the opening decade of the Army’s existence, anyone was free to buy and perform music which the Salvation Army published, or for which it.
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Gammon, Sheila. "The Musical Revolution of the Mid-Nineteenth Century: From ‘Repeat and Twiddle’ to ‘Precision and Snap’." In The British Brass Band, 122–54. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166986.003.0004.

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Abstract In 1928 Gustav Holst composed A Moorside Suite for brass band. This work was important as the first composition expressly written for brass band by a ‘major’ English composer, and it is significant that it was the test piece at the National Championship at Crystal Palace that year. Subsequently, the inter-war years saw brass band works by Elgar, Bantock, Howells, Bliss, and others. At last art-music composers were taking the brass band seriously.
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Herbert, Trevor. "Nineteenth-Century Bands: Making a Movement." In The British Brass Band, 10–67. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166986.003.0002.

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Abstract The growth of brass bands in Victorian Britain can be viewed as something of a watershed. It represents an important manifestation of change in popular music culture, and even though it is but one aspect of the wider phenomena underlying the rise of popular music, it possesses features which make it special. It provides a prime example of the fusion of commercial and philanthropic interests and attitudes; of art music and vernacular musical practices; of technology and ‘art’; and of dominant and emergent ideologies. It could also be regarded as one of the more important aspects of British art music in the nineteenth century, and certainly an element which impacted in a lasting manner on the broad infrastructure of British music: its industry, institutions, and even styles.
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Bythell, Duncan. "The Brass Band in the Antipodes: The Transplantation of British Popular Culture." In The British Brass Band, 217–44. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166986.003.0007.

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Abstract When we speak of an international popular culture today, especially in music, we are likely to think of an American-dominated world whose origins lie in the gramophone record and whose current symbols are the transistor and the personal stereo. But at the beginning of the twentieth century, there was a rather different European-derived musical popular culture, whose essence lay in making music rather than merely listening to it. Amateur bands playing popular works by contemporary European composers, on various combinations of cheap, mass-produced wind instruments, were a major element in this culture, which was carried round the world not by the airwaves or in electronic devices, but in the heads, hearts, and hands of tens of thousands of ordinary European emigrants who took their home-grown customs, institutions, and pastimes with them when they put down new roots in strange places. The British strand within this transplanted popular culture was particularly important, and it was best able to thrive unchecked and little-changed in those small and distant communities where immigration from places other than the United Kingdom was negligible, and where cultural links with the ‘Old Country’ were kept strong by being continuously renewed. Not surprisingly, Australia, New Zealand, and Canada met these conditions perfectly in the late nineteenth and early twentieth centuries.
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10

Hindmarsh, Paul. "Building a Repertoire: Original Compositions for the British Brass Band, 1913—1998." In The British Brass Band, 245–77. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166986.003.0008.

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Abstract In a typically provocative talk broadcast on BBC Radio 3 in 1972, the composer Robert Simpson called into question the way in which musical commentators and composers have used words like ‘progress’ or ‘advance’ when charting the paths which ‘serious’ composition has taken during the twentieth century. If we consider the composing of music to have progressed or advanced, Simpson argues, are we to regard Wagner’s powers of musical thought as superior to Beethoven’s, or to consider Beethoven more musically intelligent than Mozart, simply because the style and structures they employed have developed and changed? In Simpson’s view, creative powers and musical intelligence should not be confused with mode of address or changing fashion—concepts which are equally pertinent to any overview of the contribution made by composers writing for the brass band in the twentieth century.
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Conference papers on the topic "Brass band music"

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Socican, Igor. "The New Orleans and Chicago styles aspects from the perspective of the jazz double bass." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.05.

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The author aims to outline some aspects of the New Orleans and Chicago Jazz styles, to show the importance of the ethnic, geographical, and legal factors in the emergence of New Orleans Jazz in the early 1900s and its later derivation into the Chicago Style in the 1920s. There are examined the beneficial predecessor factors of these styles — the evolution of street brass band orchestras (marching bands), the spirituals, the blues and ragtime and their stylistic features, collective improvisation, the call-and-response principle, that have been the base for the development of jazz music in general. In this context, mention is made of the role of the double bass in the examined period of classical jazz.
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Amihalachioaie, Mihai. "Ways of arrangement of folkloric instrumental pieces for voice, men’s choir and folk music orchestra." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.07.

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One of the basic ideas in this discourse is experimentation in the arrangement process. The author aims to argue the need of developing the knowledge of some ways of arranging folk music material in a modern version, applied to an orchestral score in the context of the local musical art modernization through the prism of his own experience as a practitioner. Especially in vocal pieces, but also instrumental ones, the author comes up with some newer arrangement features in the process of developing the sound material. One of the essential features of this experiment is the use of the male choir during the development of the folk music material in the vocal, instrumental or orchestral pieces, the introduction of brass band interventions in the folk music orchestra score, which lead to an even wider development of the musical material.
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