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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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Rifkind, Justin, and Justin Rifkind. "Implementing New Orleans Brass Band Playing Into a Tuba and Euphonium Applied Lessons Course." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621090.
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The focus of this project is to examine current tuba and euphonium applied lessons syllabi and to create a New Orleans brass band curriculum supplement to enhance those existing courses. Through the addition of new method books, exercises, historical texts and articles, listening assignments, and performing experiences, collegiate tuba and euphonium students will be able to apply the knowledge gained in core academic music courses, such as music theory and music history, to mastering a new style of music. Emphasis has been placed on learning chord progressions, stylizations, and how to improvise and walk a bass line.
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Sobba, Lyle Andrew. "An examination of major works for wind band and brass ensemble: “Funeral march for brass choir” by Edvard Grieg, “Dance mix” by Rob Smith, and “An original suite” by Gordon Jacob." Kansas State University, 2011. http://hdl.handle.net/2097/8524.
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Master of MusicDepartment of Music
Frank C. Tracz
The following report is research and analysis of major wind band literature for the Graduate Conducting Recital performed by the Kansas State University Wind Ensemble on March 13th, 2011 under the direction of Lyle Sobba. The repertoire for the concert was comprised of the following pieces: Funeral March for Brass Choir by Edvard Grieg, Dance Mix by Rob Smith, and An Original Suite by Gordon Jacob. This examination, through thorough research and theoretical analysis, is a compilation of the documents created to effectively rehearse the compositions. The report also contains documents pertaining to the planning and executing of the Graduate Conducting Recital.
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Emmerik, Matthew van. "Revelation: the emergence of the euphonium from the traditional brass and wind band culture and its modern day acceptance in solo, chamber and orchestral genres." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/14109.
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The thesis presents new research concerning aspects of the euphonium and its repertoire, including both new and historical compositions that have never before been documented or recorded. The thesis discusses the historical context of the euphonium, and demonstrates new ways of using the euphonium and combinations of instruments that work with it. Each chapter of this thesis aims to expand on basic information regarding to the euphonium. Chapter one is a literature review covering various books relating directly to the euphonium and the tuba. Chapter two covers the historical origins of the euphonium and where the instrument was mainly used in its early years. Chapters three and four cover the euphoniums traditions, current social status and the relationship between the euphonium, cello and the orchestra. Chapter five covers the euphoniums repertoire in the wind band genre and chapter six looks at the euphonium in the orchestral context. Finally chapter seven covers the euphonium and its solo repertoire over the past 150 years and the thesis closes with the final conclusion in chapter 8. Performance of the works discussed has formed an integral part of the research process, and has both informed, and been informed by the historical and analytical material presented here. In support of the thesis, two CDs are provided which have been recorded specifically to give the reader an audible example of the changes in repertoire and the development in compositional styles for the euphonium. The first CD - ’Neath Austral Skies - showcases the Australian repertoire for the euphonium accompanied by brass band. The music on this CD has never before been recorded, and the enclosed programme notes and information on the music document influences on the composers. The second CD - Utaki, The Sacred Grove - demonstrates a variety of alternative uses for the euphonium outside the band context. This CD does not focus on orchestral repertoire, but demonstrates the instrument in alternative roles, including in chamber music and as concerto soloist in music of varying styles, including several newly commissioned works, thus revealing a new direction and repertoire for the euphonium. This second CD projects the euphonium into a new and completely different sound world, effectively demonstrating some of the more romantic qualities of the euphonium, while capturing the versatility of its voice by utilising accompaniments such as a string quartet, string duo, piano and chamber brass - all of which complement the distinctive tessitura and vocal qualities of the euphonium. For more information about Matthew please visit his personal website: www.matthewvanemmerik.com
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Lytle, Stephen Charles. "Giving Voice to the Past: New Editions of Select Repertoire of the 26th Regiment Band, North Carolina Troops, C.S.A." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1273167211.
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Shonkwiler, Joel David. "A New Model for Beginning Trombone Lessons." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260396865.
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Newsome, R. "The 19th century brass band in northern England : musical and social factors in the development of a major amateur musical medium." Thesis, University of Salford, 1998. http://usir.salford.ac.uk/2026/.
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This thesis examines the development of the amateur wind band in Britain during the nineteenth century, with special reference to the increasing domination of the brass band, particularly in northern England. After a preliminary review of British amateur wind bands generally, the growth of the brass band competition is investigated, showing how the contesting bands were initially concentrated in Yorkshire. The effects of industrial sponsorship and the emergence of the volunteer movement from 1859 are examined, along with the consequent shift in the concentration of bands from Yorkshire - mainly to Lancashire but also, to a limited degree, to other parts of the north and to the north midlands. Instrumentation and repertoire are also discussed, along with some collections of early band music. Part 2 of the thesis looks specifically at developments during the final quarter of the century, first of all in terms of repertoire, then through some of the personalities involved - conductors and players - before investigating the roles played by the best of the bands. Finally, having shown how a regional brass band movement grew from a nationwide net-work of wind bands, the thesis looks at ways in which the fledgling brass band movement began to spread, paving the way for the national and, indeed, international brass band movement of the twentieth century.
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Brown, Kwesi Ewusi. "SOCIAL CONFLICTS IN CONTEMPORARY EFFUTU FESTIVALS." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124803078.
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Purcell, Teresa C. "An examination of contemporary works for the wind, percussion, and brass ensemble: “Motown metal” by Michael Daugherty, “Antiphonies” by Stanley Leonard, and “After the thunderer” by Ira Hearshen." Kansas State University, 2011. http://hdl.handle.net/2097/8758.
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Master of MusicDepartment of Music
Frank C. Tracz
This document is written in support of a conducting recital given in partial fulfillment of the Master’s of Music Education with an Emphasis in Instrumental Conducting at Kansas State University. It encompasses the historical research, theoretical analysis, and rehearsal recommendations and considerations necessary to prepare the selected works for performance. The pieces analyzed are Michael Daugherty’s Motown Metal, Stanley Leonard’s Antiphonies, and Ira Hearshen’s second movement, “after the Thunderer” from Symphony on Themes of John Philip Sousa. I seek to highlight the significance of these works to the literature of their mediums, and show how they are valuable pieces of literature in the contemporary repertoire. In addition, I offer my philosophies on music learning and literature selection as a means to better understand the process entailed in laying the groundwork for successful authentic learning experiences for conductor and students.
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Kittaweepitak, Boonyarit. "The Evolving Role of the Solo Euphonium in Orchestral Music: An Analysis of Lorin Maazel's "Music for Flute and Orchestra with Tenor Tuba Obbligato" and Karl Jenkins' "Cantata Memoria"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707374/.
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The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel's Music for Flute with Tenor Tuba Obbligato (1995) and Karl Jenkins' Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice.
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Bernard-Stevens, Sarah Anne. "An examination of works for wind band, brass ensemble and percussion ensemble: “Suite Française” by Darius Milhaud, “Hats Off to Thee” by John Zdechlik and “Mercury Rising” by Nathan Daughtrey." Kansas State University, 2012. http://hdl.handle.net/2097/13756.
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Master of MusicDepartment of Music
Frank Tracz
The following report contains the research and analysis of three musical compositions prepared for effective rehearsal and performance for the Graduate Conducting Recital. The repertoire selected includes Hats Off to Thee by John Zdechlik, performed by the Kansas State University Brass Ensemble on April 18th, 2012; Mercury Rising by Nathan Daughtrey, performed by the Kansas State University Percussion Ensemble on April 3rd, 2012 and Suite Française by Darius Milhaud, performed by the Kansas State University Concert Band on April 25th, 2012 all under the direction of Sarah Bernard-Stevens. The report comprises extensive research and theoretical analysis compiled to effectively rehearse and conduct the above-mentioned works.
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Daigle, Jennifer B. "An Investigation of Novice Middle and High School Band Directors’ Knowledge of Techniques and Pedagogy Specific to the Horn." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151003398.
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Ladd, Adam Richard. "An examination of works for wind band and brass ensemble: Toccata for band by Frank Erickson, Mutations from Bach by Samuel Barber, and Nobles of the Mystic Shrine by John Philip Sousa." Kansas State University, 2014. http://hdl.handle.net/2097/17574.
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Master of MusicDepartment of Music
Frank Tracz
The following report is a comprehensive analysis of two works for wind band and one work for brass ensemble, prepared by Adam Ladd. The report was completed during the Spring semester of 2014 and culminated with live performances of each piece by the Kansas State University Concert Band and Brass Ensemble with Adam Ladd conducting. Audio and video recordings of the conducted performances can be found within the K-State Research Exchange database. The following report includes three comprehensive Unit Studies or Teacher Research Guides in the format that is described in the Teaching Music Through Performance in Band book series. The report also includes three Tracz Analysis Grids in the format that is found in The Art of Interpretation of Band Music. The examined pieces are as follows. Toccatta for Band, by Frank Erickson, Mutations from Bach, by Samuel Barber, and Nobles of the Mystic Shrine, by John Philip Sousa, arranged by Philip Sparke.
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Eaverson, Anna K. "A graduate recital in wind band conducting featuring analysis of: Eric Ewazen’s Symphony in brass, Shelley Hanson’s Dances with winds, and Paul Hindemith’s March from symphonic metamorphosis on themes by Carl Maria von Weber." Kansas State University, 2010. http://hdl.handle.net/2097/4137.
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Master of MusicDepartment of Music
Frank C. Tracz
This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master’s of Music Education degree. Enclosed is information pertaining to quality literature selection, a music education philosophy, theoretical and historical analyses, and rehearsal plans for the Graduate Conducting Recital of Anna K. Eaverson held on Wednesday, March 19, 2010. The analytical methods used in this document are based on the Blocher/Miles unit studies found in the Teaching Music Through Performance in Band series as well as macro-micro-macro score analysis. The selections analyzed using these methods include Symphony in Brass by Eric Ewazen, Dances with Winds by Shelley Hanson, and March from Symphonic Metamorphosis of Themes by Carl Maria von Weber by Paul Hindemith.
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Johnson, Christopher Scott. "An examination of major works for wind band, brass ensemble, and chamber winds: “Three songs from Sussex” by Hugh M. Stuart, “Fanfare for brass and percussion” by Karel Husa, and “Serenade no. 10 in B flat” by Wolfgang Amadeus Mozart." Kansas State University, 2015. http://hdl.handle.net/2097/19076.
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Master of MusicDepartment of Music, Theatre, and Dance
Frank C. Tracz
This report provides a comprehensive research and teaching guide for three works for wind ensemble, brass ensemble, and chamber winds: Three Songs from Sussex by Hugh M. Stuart, Fanfare for Brass and Percussion by Karel Husa, and Serenade No. 10 in Bb, Largo, Allegro molto by Wolfgang Amadeus Mozart. Each chapter provides information on the composer, composition, historical perspective, technical considerations, stylistic considerations, musical elements, form and structure, other listening suggestions, and seating arrangement considerations. Also included are the lesson plan outlines that were used to teach each work, and a detailed score analysis grid. The report documents the full process of selecting, researching, rehearsing, and performing the selected literature with the hope that it will aid in future performances of the works.
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Valverde, Ocáríz Ximena. "Música tradicional en el aula: las bandas de bronces de Tarapacá y sus aportaciones a la educación musical escolar." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664246.
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Esta investigación comprende a la educación musical como una disciplina esencialmente interdisciplinar y, de esta forma, la convierte en una aportación para el desarrollo humano de forma integral. Para este fin, la utilización de recursos provenientes de la música tradicional hace de la experiencia de aprendizaje un momento enriquecedor y significativo para los participantes del proceso. A pesar de que estas músicas se encuentran muy arraigadas en la cultura popular, la presencia de estas es casi invisible en el curriculum para la educación formal a través del Ministerio de Educación, no ha sido considerado su tratamiento de forma sistemática ni tampoco los beneficios que desde su práctica se pueden obtener.
Considerando esta problemática, la presente investigación consiste en el diseño, la implementación y la evaluación de una propuesta didáctica para el aula de música de sexto año básico en 4 colegios de Chile. Para este fin, se utilizaron como base y materia prima las músicas de las bandas de bronces de la región de Tarapacá y el contexto en el que estas se desarrollan.
El diseño de la investigación contó con tres etapas: la primera, la etapa preactiva, consistió en dos periodos de etnografía, donde se hizo un estudio en profundidad de las bandas de bronces, sus músicas y los contextos socioculturales en las que estas se desenvuelven. Por otra parte, se estudió y se tomó conocimiento sobre la situación actual con respecto a la presencia de las músicas tradicionales en el nivel de sexto año básico. La segunda etapa, la etapa activa, consistió en el diseño e implementación de una propuesta didáctica para sexto año básico, utilizando una selección de músicas y prácticas culturales observadas en el entorno en que se desenvuelven y desarrollan las bandas de bronces. Se seleccionaron 4 colegios 3 de la región de Tarapacá y uno de la región de Los Lagos y participaron un total 117 estudiantes y 4 profesores, 3 de los cuales tenían titulación en educación musical y uno en educación básica. La implementación contó con un total de 8 sesiones distribuidas a lo largo de dos meses de trabajo.
Finalmente, la tercera etapa, la etapa postactiva, consistió en el análisis de la implementación didáctica, basada en la utilización de tres instrumentos de recolección de la información. En primer lugar, se desarrolló una observación de clases. El segundo instrumento, consistió en la realización de entrevistas a los docentes colaboradores con la investigación. Por último, el tercer instrumento que se utilizó fueron pautas de evaluación de sesiones.
Entre los principales hallazgos de este estudio, se destaca la necesidad de incluir a las músicas tradicionales en el aula, no tan solo por su valor musical, sino, además, porque permiten reconocer elementos culturales interdisciplinares que no están incluidos y valorados por el sistema de educación formal. Los resultados finales y el carácter innovador que tuvo esta investigación pusieron de manifiesto la necesidad de mejorar las prácticas de tratamiento de estas músicas en el aula. Entre los resultados obtenidos, se destacan la inclusión de elementos significativos para el aprendizaje en la educación musical tales como la presencia de un cultor en el aula, la música como un elemento dispuesto para la reflexión colectiva y la necesidad de abordar estas músicas tal y como se dan en sus contextos, incluyendo la danza como un elemento central para su desarrollo.This research assumes the music education as an essentially interdisciplinary discipline, and, in this way, it turns on a contribution to human development in an integral way. For this end, the use of resources that come from traditional music makes of the learning experience an enriching and meaningful moment for the participants of the process. Despite the fact that popular culture is rooted in the population, the presence of this music is almost invisible in the study programs of the Ministry of Education because its systematic treatment and the potential benefits that can be obtained from its practice are not considered. Considering this problem, the present research consists in the design, the implementation and the evaluation of a didactic proposal for the sixth grade music classroom in 4 schools in Chile. For this, the music of the bronze bands of the Tarapacá region and the context in which they are developed, were used as a base and raw material. The design of the research had three stages: the first, the pre-active stage, consisted of two periods of ethnography, where an in-depth study was made of the brass bands, their music and the socio-cultural contexts in which they unfold. On the other hand, the current situation regarding the presence of traditional music at the sixth grade level was studied and learned. The second stage, the active stage, consisted in the design and implementation of a didactic proposal for the sixth basic year, using a selection of musics and cultural practices observed in the environment where bronze bands are unfold and developed. Four schools 3 from the Tarapacá region and one from the Los Lagos region were selected and a total of 117 students and 4 teachers participated, 3 of whom had a degree in music education and one in basic education. The implementation had a total of 8 sessions distributed over two months of work. Finally, the third stage, the post-active stage, consisted in the analysis of the didactic implementation, based on the use of three instruments for gathering information. First, a class observation was developed. The second instrument involved conducting interviews with teachers collaborating with the research. Finally, the third instrument consisted of session evaluation guidelines. Among the results obtained, are the inclusion of significant elements for learning in music education such as the presence of a culture bearer in the classroom, music as an element for collective reflection and the need to address these musics as they are given in their contexts, including dance as a central element for their development. the main findings of this study, the need to include traditional music in the classroom is highlighted, not only because of its musical value, but also because it allows recognizing interdisciplinary cultural elements that are not included and valued by the formal education system. The final results and the innovative nature of this research showed the need to improve the practices of treating these musics in the classroom.
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Martinsson, Sara. "En amatörmusikkår i en föränderlig verklighet : En berättelsebaserad dokumentation med ett antal frågeställningar." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4839.
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The local wind band in Lilla Edet, Lilla Edets Musikförening, springs from work and activities in the late 19:th century. Since then, the band has developed from a brass sextet to mixed wind band. It has been an appreciated contribution to the society on festive occasions. Yet, it seems like the band more and more has lost it´s useful purpose. Also, the recruiting of new members has ceased, as the music school has trouble with attracting pupils to learn to play wind instruments.
The reasons for this reduced interest are more then one. One aspect can be lack of atten-tion to the genre in music education, both in the music school and in the regular school. It may also be due to the media not showing enough of the wind music. That this genre, in many purposes, has been replaced by today´s popular music also makes the average Swede unaware of it´s qualities.
There are, however, places where the wind music tradition is stronger. This can, for example, come from special wind instrument education at an early age. It can also be due to the local band playing a prominent part in the society.
To help a languishing band activity, the band itself must cooperate with the music school and the society. All parts must do what they can to make sure the business stays alive.
Lilla Edets Musikförening har sitt ursprung ur föreningslivet i slutet av 1800-talet. Musik-kåren har sedan dess utvecklats från mässingssextett till blandad blåsorkester. Den har uppskattats och haft sin givna plats vid högtider i, och i många fall utanför, kommunen. Dock har musikföreningens funktion i samhället med åren successivt blivit mindre befintlig. Därtill har rekryteringen av nya medlemmar avstannat, i takt med att musikskolan lockar färre och färre elever till att spela blåsinstrument.
Anledningarna till detta minskande blåsmusikintresse kan dels vara brist på uppmärksamhet på genren i musikundervisningen, både i musikskolan och i den vanliga skolan, dels kan det vara att blåsmusiken syns för lite i media. Att blåsmusiken, som underhållnings- och funktionsmusik, ersatts av dagens populärmusik, gör också att kunskapen om blåsmusiken är liten hos medelsvensken.
Dock finns platser där blåsmusiktraditionen är starkare. Detta kan t.ex. komma sig av att man satsar på särskild blåsundervisning i tidig ålder, eller att musikkårsverksamheten har en väldigt framträdande och självklar roll i samhället.
För att en tynande musikkårsverksamhet ska överleva krävs insatser från både musikkåren själv, musikskolan och kommunen. Alla parter måste samverka och vara beredda att satsa för att trygga verksamhetens framtid.
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Feyes, Andrew Dean. "An examination of major works for wind band and brass ensemble : "Incidental suite" by Claude T. Smith, "Concerto for 23 winds" by Walter S. Hartley, and "Fanfare for la Peri" by Paul Dukas." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/292.
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Taylor, Mark A. (Mark Amdahl). "British-Style Brass Bands in U.S. Colleges and Universities." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955014/.
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Since the 1980s, British-style brass bands - community ensembles modeled after the all-brass and percussion bands of Great Britain - have enjoyed a modest regeneration in the United States. During this same period, as many as 23 colleges and universities in the U.S. have founded their own curricular or extra-curricular brass band. The purpose of this research study was: to discover which schools sponsor a brass band currently; to discover which schools formerly sponsored a brass band but have since discontinued it; to describe the operational practices of collegiate brass bands in the U.S.; and to determine what collegiate brass band conductors perceive to be the challenges and benefits of brass band in the curriculum. Data for the study were collected between February, 2015 and February, 2016 using four custom survey instruments distributed to conductors of college and university brass bands. The results showed that 11 American collegiate institutions were sponsoring a brass band during the period of data collection. Additional findings included descriptions of the operations of collegiate brass bands, such as availability of credit, rehearsal time, and instrumentation. Results also included the conductors' reported perceptions that both challenges and benefits are inherent in student brass band participation, and that brass band is a positive experience for students. An additional 3 community-based brass bands, not sponsored by but located near a college or university, were found to include collegiate students among their player personnel. A total of 9 schools formerly sponsoring brass bands were found to have discontinued their program. A repertoire analysis of 733 titles of compositions performed by both active and formerly active brass bands revealed that bands performed original works for brass band nearly as often as transcribed or arranged works.
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Herak, Diana Droste. "A Survey of Active Brass Bands in the State of Ohio." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406740783.
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Hoh, Lyndsey. "The sound of metal : amateur brass bands in southern Benin." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:d47d74ec-39f0-4ed8-87fa-91094174009d.
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This thesis contributes an empirically informed understanding of postcolonial experience and musical expression in West Africa through an ethnographic study of amateur brass bands (fanfares) in the Republic of Benin. During the nineteenth and twentieth centuries, the Western hegemonic cultural tradition of the brass band was exported across the globe through imperialist institutions such as the military and the church. Music in colonial Dahomey was an integral part of the French civilizing mission, and the brass band took center stage. Brass bands remain pervasive in present-day Benin and perform in a multitude of political, social, and religious contexts. Previous scholarship subsumes postcolonial musical performance into social scripts of resistance, framing brass bands in particular within cultural modes of mimesis, indigenization, or appropriation. Pushing against these canonical narratives, this thesis illustrates apolitical, affective, and embodied modes of experiencing colonialism's material and musical debris. Broadly, the ethnography presented here speaks to four themes. The first of these is material. Evident in musicians' accounts are materials' sonic inclinations: how instrument design and disrepair constrain musical ideals, and how different metals encourage particular pitches and timbres. Present, too, is the social and affective capacity of material: how ideas about brass instruments shape histories, erect styles, construct tastes, move bodies, induce anxieties, and proffer futures. The second theme is precarity. Fanfare musicians âget byâ in an exploitative (musical) economy, are made anxious by ambiguous understandings of brass instruments, and manage an undercurrent of uncertainty in a social milieu rife with rumor and distrust. A third theme arising is that of the body, broadly conceived. This thesis illustrates the corporeal demands of fanfare performance, the embodied experience of blowing brass instruments, and the social value of bodily strength and exertion. The fourth theme is entanglement. Beninese musicians' experience of fanfare is entangled within (at times contradictory) ideas of the past, imaginings of the outside, emotions in the present, and expectations for the future. Entanglement likewise extends to musical instruments: the multiple valences of materials collide in brass instruments, as do histories, traditions, and feelings.
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Giner, Tormo María Consuelo. "La estética de la obra sinfónica de Manuel Berná García." Doctoral thesis, Universidad de Murcia, 2003. http://hdl.handle.net/10803/10838.
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Esta tesis doctoral tiene como objetivo principal el estudio de las veintidós obras sinfónicas del compositor Manuel Berná, (Albatera, Alicante-España 22/ agosto/ 1915). Se subraya la importancia de su estilo propio, encuadrado en la armonía tonal alterada, que huye de la duplicación de la octava, prefiriendo sextas y séptimas alteradas. Asimila el impresionismo, con gran dominio del color de la orquesta; el puntillismo, donde tienen valor las notas individualmente, fragmentando mucho las melodías; y el simbolismo, buscando la representación de la esencia del objeto o la psicología del personaje. Esto unido a una mentalidad contemporánea, elevando la música popular a la categoría de sinfónica. Predomina el tono sobre el modo: dentro de la politonalidad e incluso de una pantonalidad, aportando la idea estética de la influencia del semitono.Atento a las nuevas corrientes, vivo ejemplo de tenacidad, sabiendo evolucionar y aportar su estética a futuras generaciones, como compositor clásico. -The aim of this thesis is to study the twenty-two symphonic works of the composer Manuel Berná, (born Albatera, Alicante, Spain, 22/08/1915).It emphasises the importance of his style within the framework of altered tonal harmony, which avoids doubling the octave, rather using altered sixths and sevenths. It assimilates Impressionism with its command of the orchestral colours; Pointillism, in which every note has equal importance, producing fragmentation in the melodies; and Symbolism, with its search for the representation of the essence of the objects or the psychology of the characters. These techniques and his contemporary mentality raise Popular Music to the category of Symphonic Music. Key takes precedence over mode within polytonality and even pantonality, contributing the aesthetic idea of influence of the semitone. As a classical composer, he was up to date with new trends, a living example of tenacity, evolving and contributing his aesthetics to new generations.
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Eriksen, Kirstie. "The structures, playing techniques and teaching methods of four community brass bands in the Cape Peninsula." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12003.
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Includes abstract.Includes bibliographical references.
The objectives of this study are to investigate the teaching methods embedded in the oral transmission of music knowledge, the musicians’ playing technique, the cultural and social benefits of music in the communities of the four bands, as well as to look at the advantages and disadvantages of aural and oral modes of transmission of knowledge in teaching.
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DeCoste, Kyle. "Street queens| The Original Pinettes and black feminism in New Orleans brass bands." Thesis, Tulane University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599202.
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The musical traditions of New Orleans are largely patriarchal. As the predominant sonic signifier of New Orleans, the brass band amplifies this gender bias more than any other musical tradition in the city. Brass band song lyrics can at times revolve around the subjugation and objectification of women, which renders the brass band canon tricky to access for female musicians. These symbolic issues become socially reified in the male control of instruments and the barriers to professionalization experienced by female musicians. Indeed, female brass band musicians are in the minority, constituting few more than ten musicians in a city with somewhere in the vicinity of fifty bands, all of which feature about ten musicians. The available literature on brass bands has thus far focused almost exclusively on black men and, mostly due to the relative absence of women in brass bands, neglects to view gender as a category of analysis, reflecting the gender bias of the scene at large. Using black feminist theory, this thesis seeks to introduce gender as a key element to brass band research by studying the only current exception to male dominance in New Orleans’ brass band community, an all-female brass band named the Original Pinettes Brass Band. Their example forces us to reconsider the domain of brass band music not only as one where brass band instruments articulate power, but where gender is a primary element in the construction and consolidation of this power.
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Silva, Francinaldo Rodrigues da Silva. "A aprendizagem musical e as contribuições sociais nas bandas de música: um estudo com duas bandas escolares." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3533.
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The bands are an important area of musical learning. There are many perspectives of education involved in them: instrumental teaching in group and individual, musical theory lessons, music theory, martialness and discipline. The brass bands have an active participation in Brazilian communities. They play in public ceremonies, civic and military parades, religious festival, and many others different events. Taking Part of a band gives to the members a kind of learning that goes beyound playing an instrument. With a view to these bands particularities this study was developed by taking two martial bands of the city of Aparecida de Goiania/GO, in order to inquire how the bands contribute to the musical and social process of the students whom participate. The research includes both qualitative and quantitative datas. In order to obtain meaniful results toarch, the study was achieved by literature review, direct observation of theoretical lessons, rehearsals and select bands performances. It was applied questionnaires to these groups of students who take part in these bands. And for teachers, teachers’ aides, group manager of the institutions in which the bands belongs to were performed semistructured interviews. In answer to the questionnaires and interviews were collected datas which support the objectives of this research.
As bandas constituem um espaço importante de aprendizagem musical. Nelas estão envolvidas muitas perspectivas de ensino: ensino de instrumento individual e coletivo, aulas de teoria musical, marcialidade e disciplina. As bandas de música tem uma participação ativa nas comunidades brasileiras, se apresentando em solenidades públicas, desfiles cívico-militar, festas religiosas e eventos culturais de natureza diversa. Fazer parte de uma banda proporciona aos integrantes aprendizados que vão além do tocar um instrumento. Com vistas a estas peculiaridades das bandas, esta pesquisa foi desenvolvida tomando duas bandas marciais da cidade de Aparecida de Goiânia/GO, com o objetivo de averiguar de que forma as bandas de música contribuem para o processo musical e social dos alunos que dela participam. A pesquisa é de natureza qualitativa e quantitativa. Visando obter resultados significativos para a análise dessa pesquisa, o trabalho foi realizado a partir de revisão de literatura, observação direta das aulas teóricas, dos ensaios e das apresentações das bandas selecionadas. Foram aplicados questionários para os alunos participantes dessas bandas. Para os maestros, professores auxiliares, grupo gestor das instituições que cediam as bandas foram realizadas entrevistas semiestruturadas. Nas respostas obtidas aos questionários e entrevistas foram colhidos dados que corroboram com os objetivos dessa pesquisa.
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Etheridge, Stephen. "'Slate-grey rain and polished euphoniums' : southern Pennine brass bands, the working class and the North, c. 1840-1914." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/24607/.
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Brass Bands have become a clichéd representation of northern working-class culture. Hence, in 1974, Peter Hennessy described a band contest at the Albert Hall: A roll call of the bands is like an evocation of industrial history. From Wingates Temperance and Black Dyke Mills to more modern conglomerates [...]. Grown men, old bandsmen say, have been known to cry at the beauty of it all […]. Of all the manifestations of working-class culture, nothing is more certain than a brass band to bring on an attack of the George Orwells. Even the most hardened bourgeois cannot resist romanticizing the proletariat a little when faced with one. This stereotype, which emerged in the nineteenth century, generated the following research questions: What musical and social elements in the performance of brass band music strengthened working-class cultural identity in the nineteenth and early twentieth centuries? How did bands, which thrived in large numbers in the Southern Pennines, emerge as a musical and cultural metonym of the industrial landscape? This thesis therefore examines internal and external reporting of elements of brass musicianship in brass bands that constructed working class and northern identities. An outline of music-making in the north shows how the region supported bands’ development when they began to emerge from the 1830s. Brass musicianship and musical performance strengthened working-class cultural identity. Explorations of musical performances, leisure, rational recreation, social networks, gender and region, all combine to produce a fuller understanding of the northern working class between c.1840 and 1914. Such influences – of class, gender and region – contributed to brass bands producing primary examples of working-class identity. Not only have brass bands been under-explored in the history of leisure, but they also add to the understanding of the origins of stereotypes about working-class culture and northern identity that emerged, and came under scrutiny, in this period.
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Rezende, Murilo Silva. "A Banda Corporação Musical Nossa Senhora do Carmo: um espaço de relações e de ensino/aprendizagem musical (1985-2014)." Universidade Federal de Uberlândia, 2016. https://repositorio.ufu.br/handle/123456789/18111.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEsta pesquisa tem como objetivo geral compreender a constituição - o como se dá ou se organiza - do ensino/aprendizagem musical a partir das relações sociais que ocorrem no espaço da banda Corporação Musical Nossa Senhora do Carmo, da cidade de Arcos-MG. Para isso foi usado o recorte temporal de 1985 até 2014. Como objetivos específicos, tem-se: entender as relações sociais e de que forma elas subsidiam o processo de ensino/aprendizagem de música; discutir as relações de ensino/aprendizagem musical, que são constituídas na Banda a partir do processo de sociabilidade; analisar a convivência no espaço da Banda e entender de que forma os laços estabelecidos entre os componentes estão presentes no processo de formação de músicos; e identificar como se constituem as sociabilidades formadas a partir dos processos de ensino/aprendizagem musical nesse espaço. É uma pesquisa qualitativa (DENZIN; LINCOLN, 2006; HESSEBIBER; 2006), que utiliza como método a História Oral (LEAVY, 2011; MEIHY, 2000) e como procedimentos de coleta de dados fontes orais (entrevistas), escritas (artigos de jornais) e iconográficas (fotografias). Tem como fundamentos teóricos a educação musical enquanto prática social (GONÇALVES, 2007; SOUZA, 2004), que não existe por si mesma e depende de pessoas e grupos, os quais produzem ensinam/aprendem música e estão juntos por vários interesses, constituindo formas de sociabilidades pedagógico-musicais (RIEDEL, 1964; GURVITCH, 1941) como principal explicação para quererem estar juntos e se sujeitarem a aprender/ensinar música, seja pela integração e/ou pela participação em um grupo. Concluiu-se que na Banda as relações sociais estabelecidas se estendem para fora do espaço da Banda e fazem com que pessoas queiram aprender música, às vezes nem sempre pela música, mas por quererem estar juntas. Estes momentos de ensino/aprendizagem que formam músicos profissionais e pessoas que têm interesse em aprender música, tocar um instrumento musical, estão imersos em vários tipos de relações pedagógico-musicais.
This research aims to understand the constitution of the teaching-learning process in music from the social relationships that occur within the brass band, namely Corporação Musical Nossa Senhora do Carmo, from the city of Arcos, MG, during the period of 1985 to 2014. This study intends to understand the social relations and the ways in which they subsidize the teaching-learning process in music; discuss the relations around the teaching /learning process of music which are constituted within the band in terms of sociability; analyze the coexistence within the band and understand how the links established between the members are present in the training of musicians and identify how sociability is constituted through the process of teaching and learning music in that context. It is a qualitative research (DENZIN; LINCOLN, 2006; HESSE-BIBER, 2006) that uses the methodology of Oral History (LEAVY, 2011; MEIHY, 2000) and the collection of data by means of oral sources (interviews), in the written form (newspapers articles), and those which are iconographic (photographs). The theoretical foundations are based upon music education as a social practice (GONÇALVES, 2007; SOUZA, 2004) which does not exist by itself and depends on people and groups that produce, teach and learn music and who mingle for various reasons, constituting forms of sociability in music education (RIEDEL, 1964; GURVITCH, 1941) as the main reason to get together and/or form a band. As a conclusion, the social relations go beyond the scope of the band and make people want to learn music, not necessarily because of the music itself, but due to the sociability that it involves. the teaching-learning impetus of professional musicians, as well as people who are interested in learning music and who wish to play a musical instrument leads such people to be immersed in various pedagogical and musical relationships.
Dissertação (Mestrado)
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"Arrows of Time: A Transcription of Richard Peaslee's Trombone Solo for Brass Band." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17785.
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abstract: This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard Peaslee and his work accompanies this new arrangement, along with commentary on the orchestration of "Arrows of Time", and discussion of the evolution and adaptation of the work for wind ensemble by Dr. Hauser. The methodology used to adapt these versions for the brass band completes the background information.Dissertation/Thesis
D.M.A. Music 2013
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Frederick, Matthew David Dell'Antonio Andrew Sasaki Ray. "The history, the lives, and the music of the Civil War brass band." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3127087.
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Frederick, Matthew David 1976. "The history, the lives, and the music of the Civil War brass band." 2004. http://hdl.handle.net/2152/12735.
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Konopásková, Veronika. "Dechová hudba v současnosti - performance, funkce, recepce." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324157.
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The diploma thesis Brass music today - performation, function, reception is focused on brass music in historic-cultural analysis with overhang into form which can be seen nowadays. As a fundamental research method is chosen the method of qualitative and quantitative field research, which author answers the designated research questions. Diploma thesis is set into historic-cultural development of the brass music phenomenon, in order to provide comprehensive view on the examined subject.
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"傳統的延續與改變: 紹興婚慶儀式中的銅管樂." 2013. http://library.cuhk.edu.hk/record=b5549246.
Full textAbstract:
迎親燈籠、裝點精緻的花轎、幾十人的迎親隊伍和傳統的吹打樂隊，勾勒出一幅上世紀初紹興傳統的婚禮畫面。無論排場大小，吹打樂在當時紹興婚慶中一直是不可缺少的。直到20世紀20年代，一支名為「新聲」的銅管樂隊為紹興帶來了不同以往的音響和表演形式，並很快開始在當地上層階級的婚禮中流行。從第一支樂隊創立至今，紹興已有多達百余支銅管樂隊，兩千多名樂手。但我在一年多的田野調查中卻發現一直被冠以「洋氣」、「時髦」的銅管樂隊仍延續著很強的紹興當地的傳統文化特徵。這其中有很多有趣且值得思考的問題：現用的銅管樂緣何被帶入紹興並成為婚慶音樂？在演奏和傳承過程中，它是如何適應當地的禮俗以及當地人的觀念？西方樂器與紹興當地文化之間的結合又揭示了什麼？帶著這些問題，本文的論述內容主要分為三個部分：1、追溯銅管樂隊在紹興產生和發展的歷史，瞭解不同時代背景下，銅管樂隊如何適應傳統婚慶儀式；2、通過記述近期紹興婚禮儀式的描述及口述歷史中的紹興婚慶習俗，探究它們之間的關係，以及樂隊和音樂在當地婚禮中的角色；3、探討文化、社會環境和政治因素對婚禮音樂的影響，以及紹興婚禮「傳統」在不斷延續和變化中，當地人對銅管樂隊、樂手和音樂的理解和看法。
本文認為儘管紹興婚慶的儀式、樂手、樂器、音樂都在改變，傳統文化的影響和人們的音樂觀念仍然在看似「洋化」了的銅管樂中延續，而被改變了的銅管樂也正締造著新的傳統。
Red lanterns, elaborate bridal sedan, traditional Chinese wind and percussion (chuida 吹打) ensembles, once characterized conventional Shaoxing weddings in the early 20th century. No matter how simple the wedding was, chuida music was a very essential part, which decorated an atmosphere of lively joyance. Since the late 1920s, a newly established western brass band named Xinsheng (New Sound) brought into this county a strikingly different sound, as well as musical practices. In smart military uniform, this band of six, performing a mixed repertoire of Western and Chinese pieces, soon became popular in the weddings of the more affluent class.
As a convenient symbol of Western taste and fashion, this new band positioned itself well by its name "New Sound," an image its members initially wanted to project. However, almost ninety years after its establishment, I have found in my fieldwork that traditional Chinese concepts and practices remalll strong in the brass band's performances and activities. These unique features of border and genre crossing are also the reason why, over the course of a century, the number of brass bands in Shaoxing has increased significantly, and has become an indispensable component of present day weddings.
However, there are some interesting and important questions I want to ask in this thesis: why was the brass band brought into Shaoxing and chosen for the wedding ceremony? How did the band and its repertoire adapt to the Chinese traditional ritual context and appeal to local tastes and aesthetics? What does the brass band's negotiation between Western practices and local culture reveal? In order to answer these questions, this thesis first tracks the band's history and transmission. Then after a chapter of wedding ethnography and a chapter of oral history on traditional wedding, it looks into the function of brass bands and their musIc at weddings, and explores the cultural, historical and political meanings behind them. This paper examines the ways in which musical concepts of local people influence the Western brass bands, performers and the brass music itself.
The paper holds that although the rituals, performers, musical instruments and musical language continued to change throughout during years, the local cultural traditions and people's concepts are still maintained III the Western musical practices. The brass bands chosen by history are also creating and reconstructing the history and tradition.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
鄭思.
"2013年1月".
"2013 nian 1 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 80-85).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Zheng Si.
目錄 --- p.i
Abstract --- p.ii
中文摘要 --- p.iv
Chapter 第一章、 --- 研究背景介紹 --- p.1
Chapter 一、 --- 紹興及其婚慶禮俗 --- p.2
Chapter 二、 --- 文獻回顧 --- p.6
Chapter 三、 --- 研究方法 --- p.11
Chapter 第二章、 --- 口述歷史中的紹興婚禮儀式和樂隊 --- p.16
Chapter 一、 --- 紹興三埭街的「墮民」 --- p.15
Chapter 二、 --- 「墮民」樂手陳順泰 --- p.18
Chapter 三、 --- 紹興婚禮的口述歷史 --- p.19
Chapter 第三章、 --- 紹興婚慶儀式中的銅管樂隊 --- p.26
Chapter 一、 --- 「新聲」的新生 --- p.26
Chapter 二、 --- 銅管樂的學習和傳承 --- p.31
Chapter 三、 --- 銅管樂隊在歷史中的轉變和發展 --- p.31
Chapter 1、 --- 「新聲」在轉變中適應 --- p.32
Chapter 2、 --- 從業人員 --- p.34
Chapter 3、 --- 收益 --- p.35
Chapter 4、 --- 銅管樂的現在：「紹興人只要結婚，都請、銅管樂 的現在：「紹興人只要結婚，都請隊」 --- p.36
Chapter 第四章、 --- 銅管樂隊伴奏中的紹興婚慶儀式 --- p.38
Chapter 一、 --- 紹興婚禮田野志 --- p.38
Chapter 二、 --- 銅管樂隊演出的節氣、吉日、時辰 --- p.51
Chapter 三、 --- 銅管樂隊的與鬧 銅管樂隊的與鬧 --- p.55
Chapter 1、 --- 〈老八套〉 --- p.55
Chapter 2、 --- 媒體影響下的流行音樂 --- p.61
Chapter 第五章、 --- 結論 --- p.63
參考文獻 --- p.80
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DRÁBKOVÁ, Lucie. "Základní umělecká škola ve Strakonicích." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-50773.
Full textAbstract:
Primary art schools enjoy a long tradition in our country. The Primary Art School ``Kochana z Prachové{\crqq} in Strakonice celebrates already the 70th anniversary of its foundation. It is surprising that nobody has attempted to elaborate a comprehensive work concerning its history for the whole period. With respect to the fact that I have been teaching the piano playing here since 2006 and therefore I have become a part of it, I have chosen just the history thereof as the subject of my thesis. The Primary Art School participates in many cultural activities of the town of Strakonice and it is an important educational institution because it provides education to 750 pupils in four subjects - the musical, graphic, dancing and literary-dramatic ones and it prepares talented pupils for the study at secondary schools, colleges and universities focused on arts.
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English, Helen. "Music as a Resource for World-Building in Newcastle, NSW and its Townships, 1869–1879." Thesis, 2016. http://hdl.handle.net/1959.13/1315635.
Full textAbstract:
Research Doctorate - Doctor of PhilosophyThis thesis investigates music-making in Newcastle, NSW, and its townships in the period 1869–1879. In this period many of the mining townships, notably Lambton, Wallsend and Waratah, were sufficiently established to have developed a cultural identity, based on the re-creation of traditions and cultural practices from the places their largely migrant population had left behind. Music performed many roles in the incipient settler communities, accompanying community groups in both work and leisure activities. Music’s many functions have led to the hypothesis that music was a resource for world-building for the settler communities. Four questions are posed to further the hypothesis: (1) what type of music-making was being practised in Newcastle and its townships in the 1870s? (2) how was music perceived in the 1870s; (3) what could music represent in the nineteenth-century Anglophone world of which the migrant communities were a part? and (4): how can the use of music and its perception be analysed and understood from a twenty-first-century perspective? Since little is known of the cultural life of these settler communities, archival research was first carried out into their music-making from the mid-nineteenth century onwards, with a focus on the period 1869–1879. In order to address questions two, three and four, a theoretical framework has been created that draws on the work of music historians, cultural theorists and sociologists, notably William Weber, Pierre Bourdieu and Tia DeNora, and is further informed by nineteenth-century concepts, such as rational recreation, models of the public sphere and soundscape theory. The concept of affordance, framed by Gibson and subsequently applied to music by DeNora, is the tool used in this thesis to identify the many strands that constitute music’s multimodality. Identifying music’s affordances has allowed the breadth of music’s multimodality to be captured, revealing how important music was to the process of world-building in the mining townships. In taking this innovative approach, the thesis makes a significant contribution to our understanding of how settler communities used and interacted with music in the process of building their world in colonial Australia and opens up possibilities of further research and application of the findings to both historic and contemporary communities.