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Journal articles on the topic 'Brass band music'
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1
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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Asmoro, Ganang Dwi, and Agam Maha Putra Alhakim. "Transforming Barasuara's “Guna Manusia” into brass band adaptation and sociocultural impact." Interlude: Indonesian Journal of Music Research, Development, and Technology 2, no. 2 (May 30, 2023): 70–79. http://dx.doi.org/10.17509/interlude.v2i2.70436.
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This study examines transforming Barasuara's "Guna Manusia" from a folk-rock song into a brass band arrangement. It analyzes its cultural and sociological ramifications using Pierre Bourdieu's theory of cultural reproduction. The project aims to investigate the impact of song adaptation on audience perception, involvement, and awareness of environmental issues. The research utilizes a comprehensive technique that combines descriptive analysis and literature review. The process of descriptive analysis entails the examination of YouTube videos showcasing both the original and brass band renditions of "Guna Manusia" to comprehend the musical alterations and gauge the audience's reactions. A literature review is placed on findings within appropriate theoretical frameworks and examines prior research on music adaptation and cultural replication. The analysis demonstrates that by converting "Guna Manusia" into a brass band arrangement, its cultural importance is enhanced, and its accessibility is broadened to a broad spectrum of audiences. Descriptive analysis reveals that the brass band adaption successfully communicates the song's environmental message through instrumental expression. Bourdieu's theory demonstrates how cultural reproduction impacts the adaptation process and affects the audience's reception. The study highlights the educational and societal significance of employing music to promote environmental advocacy. It showcases how Barasuara's rendition of "Guna Manusia" actively helps increase awareness and encourage transformative change within society. The research offers unique insights into the profound impact of music and its role in tackling urgent social problems.
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Møllerløkken, Ole J., Nils Magerøy, Magne Bråtveit, Ola Lind, and Bente E. Moen. "Forte Fortissimo for Amateur Musicians: No Effect on Otoacoustic Emissions." Medical Problems of Performing Artists 28, no. 1 (March 1, 2013): 3–8. http://dx.doi.org/10.21091/mppa.2013.1002.
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Many amateur musicians are likely to be exposed to high sound levels during rehearsals. Measuring otoacoustic emissions (OAE) is an objective technique to assess hearing ability and can be used as an early predictor of hearing loss. This study aimed to record sound levels at an amateur brass band rehearsal and to examine the cochlear function of the musicians by evaluating distortion product (DP) OAE amplitudes before and after sound exposure. Twenty-four brass band musicians and 10 office workers were examined with personal noise measurements and DPOAE tests before and after a music rehearsal or one office workday, respectively. The sound levels in the brass band ranged from 92 to 100 dB(A), LaEQ 96 dB(A). However, the amateur brass band members had no change in DPOAEs after this exposure compared to pre-exposure levels and compared to office workers.
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Davis, Jim. "A Storm in the Land: Music of the 26th N.C. Regimental Band, CSA. The American Brass Quintet Brass Band. New World Records 80608-2, 2002./Cheer, Boys, Cheer! Music of the 26th N.C. Regimental Band, CSA. The American Brass Quintet Brass Band. New World Records 80652-2, 2006." Journal of the Society for American Music 8, no. 2 (May 2014): 267–70. http://dx.doi.org/10.1017/s1752196314000145.
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Cipolla, Frank J. "The Yankee Brass Band: Music from Mid-Nineteenth Century America." American Music 3, no. 3 (1985): 363. http://dx.doi.org/10.2307/3051484.
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Rohwer, Debbie. "Health and Wellness Issues for Adult Band Musicians." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 54–58. http://dx.doi.org/10.21091/mppa.2008.2011.
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Because issues involved with playing an instrument may be complicated by the aging process, age may be an important variable to investigate in health studies. The current study examined the perceived health challenges of a group of adult instrumental musicians and possible accommodations for these challenges. Participants included 83 adult white musicians, aged 47 to 91 yrs, 52 females and 31 males, who were attending a national summer senior band camp. Fifty-two played woodwind and 31 brass or percussion instruments. The participants were given a questionnaire asking about (1) the degree of trouble with vision, hearing, finger/hand, arm/neck, back/leg, and other physical ailments while playing their instrument; (2) whether any pain experienced was greater when playing music than in everyday life; and (3) accommodations they may have found for any physical troubles they experienced. Visual problems when reading music were noted as the participants' greatest challenge, followed by finger/joint pain, hearing speech, and hand pain. Visual problems when reading music were a top concern across all instrument subgroups, followed by finger/joint pain for woodwind players, hearing speech for brass players, and both hand and finger/ joint pain for percussionists. Accommodations for vision problems most commonly included placing the lens line higher on bifocal lenses so that both the conductor and music could be seen. Accommodations for ailments centered around two general issues: things a musician could buy (e.g., ear plugs, instrument rests, cushions) or things they could do to avoid pain (e.g., education, stretching).
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Parker, Roy. "Boys’ bands in children’s homes: a fragment of history." Journal of Children's Services 11, no. 1 (March 21, 2016): 73–84. http://dx.doi.org/10.1108/jcs-01-2016-0001.
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Purpose – The purposes of this paper are threefold. First, to draw attention to an overlooked feature of children’s institutions in the nineteenth and early twentieth centuries; namely, the widespread existence of boys’ brass bands. The second purpose is to explain why these were created and the third is to consider what implications membership of a band had for a boy’s subsequent life. Design/methodology/approach – The paper relies upon archival and secondary sources. Findings – The study traces the influences that led to the formation of so many boys’ bands. These included the background of brass bands in popular culture; the belief in the power of music as an agent of social reform; the money-spinning value of a band that gave public performances, and the opportunity for a band-boy to join a military band, thereby securing a foothold in the juvenile labour market. Over and above these findings is the fact that so many boys from deprived backgrounds could be taught to play a musical instrument to a competent standard. Originality/value – As far as the author knows this is the only study of children’s homes’ bands. Its value lies in emphasising the fact that some of the most disadvantaged children are likely to have latent aptitudes and talents that can be discovered and developed. That is the message for today.
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Koizumi, Kyoko. "Popular music, gender and high school pupils in Japan: personal music in school and leisure sites." Popular Music 21, no. 1 (January 2002): 107–25. http://dx.doi.org/10.1017/s0261143002002064.
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There are few studies offering a comprehensive understanding of the relationship between popular music and youth cutting across both school and leisure sites. This article bridges missing links between girls and boys as performers and listeners of popular music in school and leisure sites. The aim is to investigate how high school pupils' discourses on popular music take place in different settings (i) with relation to gender, and (ii) with relation to the nature of musical practices. Through my ethnographic study conducted in Japan, pupils' techniques for employing popular music in various sites are clarified; firstly, in the formal site (classroom); secondly, in the semi-formal site (brass band club in school / high school band event); thirdly, in the informal site (boys as performers / visual band costume play gatherings). Three categorisations of popular music are theorised: ‘personal’, ‘common’ and ‘standard’. Boys' strategies for negotiation and differentiation, and girls' tactics for utilising common music in order to conceal their own personal music are found in each site.
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Hash, Phillip M. "The Chicago Reform School Band: 1862-1872." Journal of Research in Music Education 55, no. 3 (October 2007): 252–67. http://dx.doi.org/10.1177/002242940705500306.
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The purpose of this study was to document the history of the band founded at the Chicago Reform School (CRS) circa 1862. Research questions focused on the ensemble's (1) origin and time frame, (2) service to the school and community, (3) instructors, (4) instrumentation, (5) performances, (6) funding, and (7) influence on other school bands. The Chicago Reform School was established in 1855 to provide a home and education for juvenile offenders. In addition to their academic study and vocational training, several students participated in a band that was organized around 1862 and modeled after military bands of the time. By 1866, this ensemble consisted of a fife and drum corps and a brass band that were funded by performances given throughout the city. Alfred D. Langan was the first known director, followed by Thomas P. Westendorf and Hugh Goodwin. Instrumental music continued at the CRS until around 1872, when the institution was closed due to legal issues and the partial destruction of its facilities by the Great Chicago Fire.
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Pettegree, Jane. "Volunteer Bands and Local Identity in Caithness at the Time of the Second Reform Act." Scottish Studies 40 (January 24, 2024): 83–110. http://dx.doi.org/10.2218/ss.v40.9291.
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Caithness lay outside the national railway network in 1868, but as this article demonstrates, used the band music of its local volunteer military units, embedded within a wider contemporary British context of imperial music-making, as a means to express and shape local political identities. The second Reform Act of 1867, enacted in Scotland by the Representation of the People (Scotland) Act 1868, prompted wider reimagining about what it meant to be a citizen of Scotland and Britain. Regular references to civic bands in contemporary newspapers and carefully posed photographs in local archives provide evidence for the popularity of Silver and Brass bands connected with the Caithness Volunteer movement. As they marched around towns, villages and countryside, especially around the time of the national elections and local by-elections of 1868-9, their music created powerfully affective soundscapes that connected traditional local identities with the modern British fiscal-military state, helping people to imagine their place as citizens in a period of widening political engagement. The county’s band music provides a microhistory that allows exploration of contrasts between rural and civic patterns of political behaviour in this period.
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Simpson, Alvin F. "Inservice Music Educators’ Perceived Comfort for Teaching and Performing on Secondary Band Instruments." Update: Applications of Research in Music Education 39, no. 3 (February 16, 2021): 11–19. http://dx.doi.org/10.1177/8755123321995953.
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I surveyed inservice instrumental music educators ( N = 96) to determine their comfort level for teaching and performing on secondary band instruments. Research questions included the following: (a) How comfortable do inservice music educators feel teaching and performing on secondary instruments? (b) Does grade level affect educators’ comfort levels? (c) Does the educators’ primary instrument family relate to their perceived comfort level for teaching and playing on secondary instruments? and (d) Does the format of instrument classes during preparation programs influence educators’ comfort for teaching and playing secondary instruments? Participants reported moderate comfort on most instruments, with brass being most comfortable. Participants indicating woodwind as a primary instrument reported an overall higher comfort level for teaching and performing on brass instruments, whereas low comfort levels on double reeds. High school educators felt least comfortable teaching and performing on secondary instruments. Participants who took Split-Families and Semester-Families preservice classes felt more comfortable performing on secondary instruments versus those who took Individual-Instrument courses.
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Sheldon, Deborah A. "The Illinois School for the Deaf Band: A Historical Perspective." Journal of Research in Music Education 45, no. 4 (December 1997): 580–600. http://dx.doi.org/10.2307/3345424.
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From 1923 until 1942, the Illinois School for the Deaf included in its offerings for its resident boys the opportunity to participate in a brass band. The band was supported by state and private funds throughout its nearly twenty-year existence. It gave students a musical outlet, provided functional music and entertainment for the other resident students as well as community members, and became a symbol of strength and ability among members of the deaf community. Historical reports recount the outstanding quality of the music performed by the boys. While the band received a fair amount of criticism along with a vast amount of praise, it has been lauded as a most successful and meaningful endeavor. Even though the band has been defunct for more than fifty years, some music classes and activities at the Illinois School for the Deaf are still offered to students.
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Zubarev, Sergey A. "MAIN ACTIVITIES AND SPECIFICITY OF THE CONCERT REPERTOIRE OF MODERN RUSSIAN MILITARY BANDS." Scientific and analytical journal Burganov House. The space of culture 19, no. 5 (October 10, 2023): 44–52. http://dx.doi.org/10.36340/20716818-2023-19-5-44-52.
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The article examines the main trends in the development of the concert repertoire of modern Russian military bands. At the beginning of the 21st century, the complexity and multidimensionality of military band art is obvious. Modern bands perform the task of providing music for military rituals, state, political, public, cultural and sports events, and take part in concerts and festivals. In this aspect, the issues of adapting music of various genres and directions for a brass band performance are of particular relevance. In the post-Soviet period, military bands retained their value guidelines. At the same time, they not only preserve traditions but also develop them in new conditions. In Russia, military bands are the most widespread musical embodiment of military culture, as well as an important element of military infrastructure which helps maintain morale. Currently, as before, they are widely used as a propaganda tool, including during public events. The article notes the variety of directions in the development of military band repertoire. In this context, it is important for the author to consider the main factors in the formation of the repertoire of the Central Military Band of the Ministry of Defense of the Russian Federation. The band’s repertoire range is extremely wide — from works of Russian and foreign classics to music by contemporary composers. The recognized reference sound recording of the Russian National Anthem was made by this band. Moreover, the study of the repertoire of educational groups seems significant. The band of the Valery Khalilov Moscow Suvorov Military Music College consists of young Suvorov students; nevertheless, despite the age of the musicians, it is a highly professional group that has demonstrated its performing skills not only in Russia but throughout the world. In conclusion, the significance of directions for actualizing the creative activity of modern military bands and the importance of studying the art of arrangement, which makes it possible to create adaptive forms of presenting historical memory, are noted. The preservation of the traditions of performing academic music is a crucial role of military bands. The concert activity of modern military bands, as a tool for adapting music of various styles to traditional for military culture performance conditions, seems to be an important way of transfering musical culture values in situations of social change.
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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (January 31, 2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.
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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars and Stripes Forever” is considered our national march. Today, the US Army declares itself “the oldest and largest employer of musicians in the world.”
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Stambaugh, Laura A. "Effects of Focus of Attention on Performance by Second-Year Band Students." Journal of Research in Music Education 67, no. 2 (March 6, 2019): 233–46. http://dx.doi.org/10.1177/0022429419835841.
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This study tested the effect of the motor learning paradigm of internal and external focus of attention (FOA) with middle school band students. A total of 56 second-year band students (woodwinds n = 28; valved brass n = 18; trombones n = 10) practiced isochronous, alternating pitch patterns (e.g., eighth notes C–A–C–A–C–A–C) in three conditions: control (no FOA), internal (“think about your fingers”), and external (“think about your sound”). At retention testing approximately 24 hr later, students played each stimulus three times with no directed FOA. Performance trials were scored for the average duration of each pitch per trial, or evenness. No significant differences were found between conditions (control, internal, external) on Day 1 or Day 2 ( p > .05). Likewise, no significant differences were found within instrument groups from Day 1 to Day 2 ( p > .05). When evenness scores were examined at the level of the individual student, more woodwind and valved brass players benefited from the internal (fingers) FOA than from control or external conditions. Individual differences among trombone players were less pronounced, slightly favoring the external (sound) condition. Music teachers should consider implementing both internal and external FOAs with their beginning wind students.
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Zubarev, Sergei A. "Academic Music in the Practice of Russian Military Bands in the 19th – Early 21st Centuries." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 56–65. http://dx.doi.org/10.36340/2071-6818-2022-18-4-56-65.
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The article is devoted to the theoretical and practical aspects of military musicians’ arrangement practice, considered in the context of developing a system of Russian military orchestras. When studying the socio-cultural foundations of the formation and development of the art of arrangement, factors that reveal the role of Russian composers in the history of military musical culture are highlighted (such works as P.Tchaikovsky’s Skobelev March, A.Rubenstein’s Cavalry Trot are noted). The works of A.Ermolenko (The Evolution of Instrumentation in Russian Wind Music Until the 70s of the 19th Century), G.Salnikov (On the Basic Principles of Transcribing Symphonic Works for a Brass Band), D.Braslavsky (Arrangement for Variety Ensembles and Orchestras), B.Kozhevnikov (Instrumentation for a Brass Band), E.Aksenov (Problems of Theoretical Instrumentation), V.Emelyanov (Instrumentation as an Artistic Factor in Music) were used as fundamental ones to explain this issue. In the process of studying the stages of improving the system of military bands, special attention is paid to studying the features of the development of the military band service in the 19th and 20th centuries. It is noted that several works of academic music performed by military bands belong to this time: the choir and aria from the opera La Sonnambula, the duet from the opera Bianca and Fernando by V.Bellini, the overture, march, choir and a drinking song from the opera Undina by P.Tchaikovsky. In this context, the problems of the formation of the arrangement art are touched upon on the example of A.Alyabyev’s work (the use of orchestral means necessary for a full orchestral sound). When considering the features of the development of military musicians’ arrangement practice in the first half of the 20th century as well as during the collapse of the USSR, attention is paid to the processes of oblivion and revival of the traditions of orchestral wind performance, the emergence of new genres such as the drill show. In this perspective, the activities of famous military bands of the specified period are considered, for example, the Alexandrov Russian Army Song and Dance Ensemble. In conclusion, the author notes that unique conditions for the development of military musicians’ arrangement practice have been created in the national culture, making it possible to preserve the traditions of the military band service and form the value principles of academic art.
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Hodiamont, Didier, Christian Burgers, and Margot van Mulken. "Lees Niet Verder! Ga Iets Nuttigs Doen." Toegepaste Taalwetenschap in Artikelen 83 (January 1, 2010): 9–18. http://dx.doi.org/10.1075/ttwia.83.02hod.
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In this research, we investigated the influence of co-text (the text of which an utterance is part of) on the processing of ironic evaluations. In an experiment, we adapted and manipulated fragments from film, book and music reviews. Participants randomly read versions with either two ironie evaluations, two literal evaluations, or an ironie evaluation preceded by a literal evaluation. Findings show that literal evaluations (such as "we don't want to hear the local brass band play at a rock festival") were read faster than ironie evaluations (such as "we all love to hear the local brass band play at a rock festival"). However, ironie evaluations were read faster if they were marked by a preceding ironie evaluation. Fragments of negative reviews were interpreted as less negative if they contained irony. Irony thus muted criticism. In addition, appreciation of the reviews was higher if fragments contained two ironie evaluations.
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Ellis, Katharine. "The Fair Sax: Women, Brass-Playing and the Instrument Trade in 1860s Paris." Journal of the Royal Musical Association 124, no. 2 (1999): 221–54. http://dx.doi.org/10.1093/jrma/124.2.221.
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On 29 August 1865, an audience of critics and the general public gathered at the Salle Herz in Paris to witness and pass judgment on the results of an experiment set up three years earlier by the instrument manufacturer Alphonse Sax Jr, who aimed to demonstrate not only that women were capable of playing brass instruments, but that it was in their interests — on moral, health and potentially even career grounds — to do so. Although this concert of brass-band music, with supplementary items for harp and voice, marked the band's third public appearance (they had performed at the Palais d'Industrie in December 1864 and at a brass-band competition in Orbec earlier in August 1865), it was their first appearance at a major concert venue and represented their début in front of the massed Parisian press. When they walked on stage, members of the audience sniggered at the sight of a group of young women carrying brass instruments covering the entire range from the portable cornet to the heavyweights of the bass section. Plainly dressed, with only moderately full skirts, they proceeded to play an arrangement of Partant pour la Syrie, a popular romance set as a quick march, which was then thought to be by Eugénie de Beauharnais, and which under the reign of her son Napoléon III had gained the status of a national hymn. The march had been arranged by the group's conductor, Laure Micheli, who directed the ensemble in two other pieces. To wide acclaim, Émilie Lacroix then played a set of variations for cornet à pistons, arranged by J.-B. Dias, on the tune Le carnaval de Venise. The remaining members of the sextet are shadowy figures: Mlle Dias on second cornet (presumably the sister or daughter of the arranger Dias), Mlle Suzanne Legrand and Mme Neckra in the alto section, and Mlle Marie Legrand (presumably the sister of Suzanne) and Mme Worms playing bass instruments. The supporting artists were all women: the singers Mlle Marcus (also referred to in the press as Mlle Marens or Mlle Marius) and Mme Neulat de Chambon, and the harpist Mlle Waldteufel (a joint first-prize winner at the Paris Conservatoire and former pupil of Antoine Prumier); Suzanne Legrand doubled as accompanist for the singers.
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Kaminski, Joseph S. "Retired Chinese Workers, Musical Education, and Participant-Observation in The Beijing Sunshine Wind Band Art Troupe." ICONI, no. 2 (2021): 75–93. http://dx.doi.org/10.33779/2658-4824.2021.2.075-093.
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The Beijing Sunshine Wind Band performs in community concerts in Beijing year round. The band began in 2007, founded by Lin Yi and her husband Zhao Yinglin. Lin Yi underwent cancer surgery in 1995 and recovered to form the band of around 100 retirees. Members begin musical training in retirement, and as adult learners practice hours gaining musical profi ciency. The music is Chinese and in jianpu numerical notation, but all of their instruments are Western woodwinds, brass, and percussion. The band performs at national events, museums and libraries, and toured Taiwan, Korea, Hong Kong, and Macau. Concert bands are civilian versions of military bands. Their marches include “The People’s Liberation Army March,” and lyrical songs such as “My Country” from a 1956 fi lm. Their performances draw revolutionary sentiments in suites such as The Red Detachment of Women, and the band performs songs from post-Mao decades, such as “Dare to Ask the Way,” from the television series Journey to the West. Trevor Herbert stated that concert bands serve communities as “rational recreation.” The goal of this article is show how a Chinese national concert band reached and created healthy lifestyles for retired workers recovering from cancer and other disabilities.
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Badalov, Oleg. "Creative activity by G. Kkunkin in the context of the development of the military brass band’s culture of the Chernihiv region." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 97–100. http://dx.doi.org/10.32461/2226-2180.39.2021.238697.
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The purpose of the article is to study the activities of the military musician, conductor of the brass band of the Chernihiv Higher Military Aviation College of Pilots, one of the founders of the modern orchestral culture of the Chernihiv region, Major Gryhory Borysovych Kunkin (1927–2009) in the context of the development of military music of Chernihiv region, his contribution to the formation of regional cultural space of the second half of 20th century. The author examines the life of G. Kunkin against the background of the development of the military-musical performance of the Chernihiv region. The methodology is based on historical-chronological, source-study, logical-generalizing, and comparative methods for elucidating the chronology of the development of military musical art of Chernihiv region of the 20th century, the study of G. Kunkin's creative biography, and generalization of information about military conductors of Chernihiv region – his contemporaries, memoirs of G. Kunkin's colleagues, identification of factors influencing his work on the development of the cultural space of Chernihiv region. The scientific novelty of the publication lies in the first domestic musicology study of the life of G. Kunkin as one of the prominent figures of the military-musical culture of the Chernihiv region. Conclusions. The results of the study indicate that G. Kunkin during his career as a military conductor had a significant impact on the development of the military and musical culture of the Chernihiv region. With his activity he revived the regional military-musical life, outlined the main directions of its further development, which were realized in the works of military conductors of Chernihiv region at the beginning of the 21 century; G. Kunkin's concert activity of the military brass band popularized the brass art among the population of the region and, as a result, conditioned the social demand for learning to play wind instruments, intensifying the activity in this direction in art schools of Chernihiv region and music college named after L. Revytsky. The successful combination of musical experience, personal qualities, and organizational abilities allowed G. Kunkin to make a significant contribution to the potential of the spiritual culture of the Chernihiv region, which is worthily presented in Ukraine and abroad by military brass bands of the region.
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Milburn, Claire. "The Development of Marching Band Traditions at Historically Black Colleges and Universities: The Human Jukebox versus the Sonic Boom of the South." Journal of Historical Research in Music Education 43, no. 2 (April 2022): 205–27. http://dx.doi.org/10.1177/15366006221081883.
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This study investigated the development of marching band traditions at Historically Black Colleges and Universities (HBCUs), as told through the rivalry between Southern University (SU) and Jackson State University (JSU). I interviewed directors from SU, including Lawrence Jackson, Nathan Haymer, and Kedric Taylor. Directors from JSU included Dowell Taylor, Lewis Liddell, and Lowell Hollinger. Paul Adams directed at both schools, David Ware is an HBCU bands researcher, and Julian White directed at Florida A&M University (FAMU). I found traditions established through the intense rivalry between SU and JSU. Interviewees agree that a desire to outplay and outperform the other band is a major factor. This study highlights similarities between HBCU bands and New Orleans-style “second line” brass bands, which were historically driven by a competitive edge. Narrations revealed combinations of happenstance and careful planning that birthed traditions such as the famed pre-game “zero quarter” and post-game “fifth quarter” rituals that are now commonplace at HBCU football games. Directors discussed how these traditions changed with improved video sharing. Fans now demand more music, more shock factor, and flawlessness. This competitive environment forged unique traditions which can inform modern music educators about the important and complex role of competition in performance.
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Wilby, P. "Book review. The British Brass Band: a Musical and Social History. T Herbert [ed]." Music and Letters 82, no. 2 (May 1, 2001): 328–30. http://dx.doi.org/10.1093/ml/82.2.328.
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Tucker, Mark. "Count Basie and the piano that swings the band." Popular Music 5 (January 1985): 45–79. http://dx.doi.org/10.1017/s0261143000001926.
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In late 1932, after a run of hard luck on tour – jobs that evaporated, buses that broke down, and money that ran out – the Kansas City orchestra of Bennie Moten headed for Camden, New Jersey to record for Victor. The session produced ten sides, among them a piece bearing the leader's name: ‘Moten Swing’. Guitarist and trombonist Eddie Durham had come up with the arrangement in Philadelphia not long before, constructing a series of brass and reed riffs over the chord changes of Walter Donaldson's hit song of 1930, ‘You're Driving Me Crazy’. The opening of ‘Moten Swing’ featured the band's pianist, William ‘Bill’ Basie.
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Millican, J. Si. "Examining Pedagogical Content Knowledge of an Expert Band Director Teaching Lips Slurs." Journal of Music Teacher Education 26, no. 2 (July 24, 2016): 90–103. http://dx.doi.org/10.1177/1057083716629610.
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The purpose of this case study was to describe how one band director used pedagogical content knowledge while working with beginning-band students to help them develop the skill of playing brass lip slurs. Data were generated from (1) video recordings of each class over two different weeks during the school year, (2) “think aloud” interviews in which the teacher described what educational actions and decisions the teacher was making, and (3) detailed observation notes. I used cognitive task analysis to develop a concept map illustrating components of pedagogical content knowledge the teacher used during instruction. The teacher combined content knowledge, knowledge of students, and curriculum knowledge providing examples of how pedagogical content knowledge manifests itself in teaching beginning band. Examining the teacher’s pedagogical content knowledge revealed core teaching practices that may be useful for music teacher educators to understand and develop.
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Rogers, Bradley. "Lawrence Welk." Journal of Popular Music Studies 34, no. 1 (March 1, 2022): 141–66. http://dx.doi.org/10.1525/jpms.2022.34.1.141.
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This essay explores the musical politics of Lawrence Welk, the bandleader whose television show was a mainstay of American popular culture from 1955 through 1982. I argue that Welk’s interests in gender, family, and work—both philosophically and musically—reveal the maestro as a harbinger of late twentieth-century political and cultural discourse. I focus on Welk’s transition (around 1970–1973) from his trademark champagne sound—which featured woodwinds and ornamentation—to a “Big Band Sound,” which emphasized the unison open brass. Around the same time, he stopped referring to his ensemble as “The Champagne Music Makers” and began calling them his “Musical Family.” I argue that his “Big Band Sound” was in fact a musical articulation of his “Musical Family”—and that Welk instituted both of these changes in response to what he perceived as the decline of American work ethic and sexual morality. I suggest that Welk’s champagne sound, which once signified whiteness, was now feminized and seen as emblematic of indolent hedonism. He sought to purge this feminization—and this aversion to work—precisely by adopting the more “masculine” brassy sound. I also show how he deployed family acts—and his managerial scheme of a “Family Plan”—to promote his conservative ideals about work and the family. In this way, Welk provided the sound of the Nixonian “silent majority.” I conclude by noting how three elements of Welk’s show—his fondness for mistakes, the emphasis on visual spectacle, and the erratic temporality of syndication—provide the potential for a counter-reading of his efforts.
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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.
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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.
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Herzfeld, Michael. "SEDUCTIONS OF THE BOUZOUKI AND THE BRASS BAND: TRANSGRESSIVE REFLECTIONS ON MIKIS THEODORAKIS AND GIUSEPPE VERDI." Annual of the British School at Athens 115 (November 9, 2020): 403–17. http://dx.doi.org/10.1017/s006824542000012x.
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It may transgress convention to compare Mikis Theodorakis, better known for his songs than for his operatic work, with the Italian opera composer Giuseppe Verdi. Both, however, in very different national contexts, were engaged in political activity through their music – which often faced severe censorship – and their parliamentary activity. Both drew on popular traditions and utilised strong rhythms in their earlier works, experimenting later with freer forms. The differences between them meanwhile serve to highlight important differences between two countries often viewed within the shared frame of assumed Mediterranean commonalities and of ancient cultural origins, and help us to understand the role music plays in linking lived time to recorded history.
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Lien, Joelle L., and Jere T. Humphreys. "Relationships among Selected Variables in the South Dakota All-State Band Auditions." Journal of Research in Music Education 49, no. 2 (July 2001): 146–55. http://dx.doi.org/10.2307/3345866.
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The purpose of this study was to examine the effects of school enrollment, distance to audition site, sex of auditionees, and instrument type on the results of the 1992–97 South Dakota all-state band auditions. Results include the following: (1) total audition scores were better for students from larger schools and for those who traveled a shorter distance to the audition; (2) female students' scores were significantly better than those of male students, but there was no significant difference in the percentages of successful auditions between males and females; (3) scores differed significantly between instrument groups, with flutes and double reeds receiving the best scores, followed by saxophones, trumpets and French horns, low brass and string basses, and clarinets; and (4) the variables of distance to audition site, instrument group, and sex accounted for 11% of the variance in total audition scores.
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Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.
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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.
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Buana, Utari Arsy. "BENTUK PENYAJIAN LAGU OEMAR BAKRIE DI MARCHING BAND SWATAMI PADA GEBYAR PENDIDIKAN NASIONAL KABUPATEN LABUHANBATU UTARA." Grenek Music Journal 7, no. 1 (January 3, 2018): 92. http://dx.doi.org/10.24114/grenek.v7i1.8790.
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The results showed that one form of emotional expression that is channeledthrough the music and therefore, the group marching band Swatami onarranemen songs Oemar Bakrie brought by Marching band Swatami using threecategories of instrument, namely: instrument Percussion in tone (Glockenspiel,vibraphone, Xylophone, Marimba), brass instruments (trumpet, Mellophone,Baritone, Tuba), and percussion (Senar drum, tenor drum, bass drum, cymbals).Choosing songs Omar bakrie for in the arrangements with the shape Marchingband. Bakrie Oemar tempo songs using 163 has 51 bars and has two variations ofthe melody, the melody forms A and B. Form benuk melodic presentation of thesong sung by Oemar Bakrie Swatami Marching band is a form of selfappreciation for issuing arts talent. Using costumes and makeup of their pridethat seemed interesting and luxurious for a show. Using display / position playersmake this show the higher thevalue of his art.
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Russell, Jeffrey A., and Moegi Yamaguchi. "Sound Exposure of Healthcare Professionals Working with a University Marching Band." Journal of the American Academy of Audiology 29, no. 01 (January 2018): 083–89. http://dx.doi.org/10.3766/jaaa.17018.
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AbstractMusic-induced hearing disorders are known to result from exposure to excessive levels of music of different genres. Marching band music, with its heavy emphasis on brass and percussion, is one type that is a likely contributor to music-induced hearing disorders, although specific data on sound pressure levels of marching bands have not been widely studied. Furthermore, if marching band music does lead to music-induced hearing disorders, the musicians may not be the only individuals at risk. Support personnel such as directors, equipment managers, and performing arts healthcare providers may also be exposed to potentially damaging sound pressures. Thus, we sought to explore to what degree healthcare providers receive sound dosages above recommended limits during their work with a marching band.The purpose of this study was to determine the sound exposure of healthcare professionals (specifically, athletic trainers [ATs]) who provide on-site care to a large, well-known university marching band. We hypothesized that sound pressure levels to which these individuals were exposed would exceed the National Institute for Occupational Safety and Health (NIOSH) daily percentage allowance.Descriptive observational studyEight ATs working with a well-known American university marching band volunteered to wear noise dosimeters.During the marching band season, ATs wore an Etymotic ER-200D dosimeter whenever working with the band at outdoor rehearsals, indoor field house rehearsals, and outdoor performances. The dosimeters recorded dose percent exposure, equivalent continuous sound levels in A-weighted decibels, and duration of exposure. For comparison, a dosimeter also was worn by an AT working in the university’s performing arts medicine clinic. Participants did not alter their typical duties during any data collection sessions. Sound data were collected with the dosimeters set at the NIOSH standards of 85 dBA threshold and 3 dBA exchange rate; the NIOSH 100% daily dose is an exposure to 85 dBA over 8 h. Dose data for each session were converted to a standardized dose intensity by dividing the dose percentage by the duration of the exposure and setting the NIOSH standard as a factor of 1.0. This allowed convenient relative comparisons of dose percentages of vastly different exposure durations. Analysis of variance examined relationships of noise exposures among the venues; post hoc testing was used to assess pairwise differences.As hypothesized, ATs were exposed to high sound pressure levels and dose percentages greatly exceeding those recommended by NIOSH. Higher sound levels were recorded in performance venues compared with rehearsal venues. In addition to the band music, crowd noise and public address systems contribute to high sound levels at performances.Our results suggest that healthcare providers working with marching bands are exposed to dangerous levels of sound during performances. This is especially true at venues such as football stadiums, where crowd noise and public address systems add to sound pressure. A hearing conservation program, including protection, should be required for all healthcare staff who work with marching bands. Moreover, our results should inform hearing conservation practices for marching musicians, directors, and support personnel.
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Mokrohuz, Inna. "Modern instrumental and orchestral art of the Bukovyna region." Aspects of Historical Musicology 31, no. 31 (July 27, 2023): 49–64. http://dx.doi.org/10.34064/khnum2-31.03.
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Statement of the problem. The modern instrumental and orchestral art of Bukovyna, which has deep historical roots dating back to Proto-Slavic times, stands out for its bright originality. The creation of a musical-instrumental collective involves the search for a creative personality with the appropriate professional level, musical and organizational and communication skills, and the ability to communicate tolerantly with all members of the ensemble. That is why there is a need to highlight the artistic activities of both the instrumental groups themselves and their leaders. Because it is thanks to their creative restlessness that today Bukovyna is proud of a significant number of highly professional ensembles and orchestras of instrumental music. Objectives, scientific novelty, and methods of the research. The purpose of the study is to highlight the process of developing the instrumental collectives, whose activities contributed to the shaping of the modern Bukovyna musical culture. The special task of the research and its innovative component is to consider the role of outstanding figures of the leaders of these collectives in the cultural development of Bukovina. Historical, biographical, musicological and cultural approaches were chosen to reveal the stated topic, analytical and generalizing methods were used in the processing of reference sources and scientific literature. Results of the research. Bukovyna is historically multinational region, where the Ukrainian, in particular Hutsul, Romanian, Polish, Hungarian influences is felt. So, the creative activity and repertoire of the folk groups and academic instrumental ensembles are very diverse. The music art of instrumental ensembles has been always gaining interest and respect from the listeners, due to its distinguished professionalism and ease of perception. The artistic and educational activities of such instrumental ensembles as «Triple musicians», «Plai», Chamber and Academic Symphonic orchestra of the Chernivtsi Regional Philharmonic hall, folk music ensemble «Bukovyna» and the Brass Orchestra «Dixie-Band» of the Central Palace of Culture, the orchestra group of the Honoured Academic Bukovynyan song and dance ensemble named after A. Kushnirenko was highlighted. The active educational position of the leaders of these groups as an outstanding extraordinary personalities, their importance in the formation and development of cultural and educational processes in Bukovyna, popularization of the folk music of the Bukovyna region were emphasized. Such leaders are: People’s Artists of Ukraine – Andrii Kushnirenko, Yurii Gina, Pavlo Chebotov; Honored Artists of Ukraine – Mykola Hakman, Yuriy Bleshchuk, Yevhen Tarnavskyi, Oleksandr Zhukov; Honored Art Workers of Ukraine – Viktor Kostryzh, Yosyp Sozanskyi; Honored Cultural Workers of Ukraine – Illia Miskyi, Heorhii Novakovskyi. A significant number of famous vocalists from Bukovyna have worked with the orchestras at different times, such as Honoured Artists of Ukraine Mariia Melnychuk, Nina Kapliienko, Vasyl Pyndyk, Oksana Savchuk, Iryna Styts-Kulikovska, Honoured Worker of Culture of Ukraine Vasyl Fedoriuk, a poet-songwriter Mykola Bakai and others. Instrumental ensembles are regular participants of regional art festivals “Bukovynska vesna” (“Bukovyna Spring”), “Vizerunky Bukovyny” (“Patterns of Bukovyna”), “Bukovynski zustritchi” (“Bukovyna meetings”), “Chervona Ruta” (“Red rue”), “Bukovyna Suvenir”, and others. In the best traditions of brass music, brass band marches and brass concerts are constantly held in Chernivtsi, which turn into real festivals of folk music art. Conclusion. In this context, we consider the active concerts and competition activities of these groups to be important, because the instrumental art of the Bukovyna musicians are known far beyond the borders of Ukraine. The orchestras are multiple time participants of AllUkrainian and International competitions, and showcased their art to the audience of Europe, Canada, Australia and other parts of the world contributing in the constant growth of authority and world recognition of Ukrainian music.
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Phillippo, Simon. "Symphonic Momentum and Post-tonal Dramas: Simpson's First Symphony." Tempo, no. 209 (July 1999): 2–6. http://dx.doi.org/10.1017/s0040298200014613.
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Robert Simpson died on 21 November 1997, leaving behind him an impressive body of works. At its core are 11 symphonies and 15 string quartets; also three concertos, two string quintets, sonatas, some choral music, even some much admired pieces for brass band. While a thoroughly individual, music-as-process modernism imbues all he wrote, the prevailing image of Simpson is that of the conservative classicist, clinging to the apparent certainties of antiquated forms and diatonic tonality – a view that begins to some extent with the composer himself. He is widely known for his influential writings on Beethoven, Nielsen, and Bruckner among others; writings that, along the way, fiercely and polemically extol the enduring virtues of symphonic composition, manifestly swimming against the tide of contemporary music of the mid-century. Simpson's symphonism was always ideologically opposed to the post-war trends towards total mechanization, as much as to the experiments with extreme irrationality and chance in the 1960s.
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Wells, William B., and Peter Maxwell Davies. "The Peat Cutters, for Brass Band, Youth Choir (SATB) and Children's Choir (SA)." Notes 45, no. 4 (June 1989): 864. http://dx.doi.org/10.2307/941250.
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Gaspard Bolin, Marc T. "Congo Square and the Second Line." Journal of Jazz Studies 15, no. 1 (July 9, 2024): 39–73. http://dx.doi.org/10.14713/jjs.v15i1.255.
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In New Orleans, Louisiana, nearly every occasion is marked with a celebratory parade, most famously the Mardi Gras processions that seemingly take over the city during Carnival Time. But throughout the year, jazz funerals and parades known as "second lines" fill the Backatown neighborhoods of New Orleans with the jubilant sounds of brass band music. Despite this, and the rapidly growing body of well-researched and well-meaning literature by "new jazz studies" scholars, the second line culture that derives from Congo Square remains excluded from jazz history courses the world over in favor of a single text that provides an "easier read" for undergraduate students. The resulting texts provide incomplete surveys that do little to correct previously held assumptions about jazz and are now deeply embedded within American culture, serving as an indoctrinating canon that limits the brass band's role and its practitioners within the jazz tradition. Those scholars that do mention brass bands—past or present—spend little time discussing them. This article highlights these oversights and problematizes the monolithic narrative proliferating jazz texts today. Herein, I will discuss the New Orleans second line culture and its relevance to shifting narratives about jazz history in relation to Congo Square and its historical implications: what is Congo Square, what about it is missing from the jazz narrative, accepting practitioner's beliefs and social actions as proof, and why it is crucial that we (scholars/educators) implement practitioners' beliefs and community and new jazz studies scholarship to create a better, more nuanced picture of jazz as a whole.
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Snyder, Andrew. "Carnival Brass Bands in New Orleans and Rio de Janeiro: Disinheritance, Alternative Whiteness, and Musical Eclecticism." Ethnomusicology 65, no. 3 (October 1, 2021): 519–48. http://dx.doi.org/10.5406/ethnomusicology.65.3.0519.
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Abstract This article explores the predominantly White brass band scenes of the carnivals of New Orleans and Rio de Janeiro as producing rituals of intensified social distinction. The bands’ musical practices realize aesthetic preferences of distinct racialized communities forged through relational positioning. Offering alternatives to the “heritage repertoires” of these carnivals based in musical Blackness, these bands’ musical eclecticism forms an aesthetic articulation of “alternative Whiteness,” which seeks to “disinherit” both hegemonic Whiteness of conservative cultural politics and commodification of Blackness. The article theorizes contemporary carnivalesque translocality in consideration of longer histories of festive circulation in the Atlantic World. Este artigo examina o cenário de bandas de sopros, formadas predominantemente por pessoas brancas, presentes nos carnavais de Nova Orleans e no Rio de Janeiro, caracterizando como rituais de intensificação da distinção social. As práticas musicais realizadas por essas bandas têm preferências estéticas distintas das comunidades negras forjadas por meio de posicionamento relacional. Oferecendo alternativas aos “repertórios de herança” desses carnavais baseados na negritude musical, o ecletismo musical dessas bandas forma uma articulação estética da “branquitude alternativa”, que busca “deserdar” tanto a branquitude hegemônica da política cultural conservadora quanto a comodificação da negritude. O artigo teoriza a translocalidade carnavalesca contemporânea em consideração a histórias mais longas de circulação festiva no Mundo Atlântico.
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Falconer, Peter. "SEATON SNOOK AND THE BUILDING OF A PARAFICTIONAL SEASIDE TOWN." Tempo 78, no. 308 (April 2024): 70–82. http://dx.doi.org/10.1017/s0040298223000955.
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AbstractSeaton Snook was a thriving community of fishermen, blacksmiths, teachers, seacoalers, labourers and musicians on the coast of County Durham, UK. After 1968, however, government records and newspaper reports referring to the town cease and there are, apparently, no former residents still living. This article outlines the creation of What Happened to Seaton Snook?, an internet-based archive of sounds and music from the area, its residents and its workers, devised to try and form a picture of the town and what happened there. Among the nearly 100 artefacts in this ethnomusicological study are pieces for piano and harpsichord, pedagogic works, folk tunes for voice and Northumbrian smallpipes, brass band music, Krautrock, psychedelic rock and works for magnetic tape. There are biographies and photographs of people key to the history of the town, and interviews with experts in matters pertaining to the artefacts. The archive also seeks to examine the economic and cultural neglect of the North East of England and the importance of the stories we tell around the music we make.
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Politz, Sarah. "“We Don’t Want to Be Jazz-Jazz”: Afro-Modernism, Jazz, and Brass Band Music in Benin." Jazz and Culture 1 (January 1, 2018): 12–48. http://dx.doi.org/10.5406/jazzculture.1.2018.0012.
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Putra Satria Amin, Angga, and Irdhan Epria Darma Putra. "JEMBATAN MERAH." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 192. http://dx.doi.org/10.24036/jsu.v9i1.109594.
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The song of the red bridge is a national anthem created by Gesang that contains the story of farewell in the fire of struggle. The purpose of this work is to create works in the form of school music arrangements. In this work the arranger worked on a red bridge song in the form of school music, then combined it with a touch of combo band from several musical components in the middle, thus forming a new arransemen to show. The nuances of the arrangement will later transform the emotions of hope and anticipation into something joyous, reinforced by the progress of jazz chords and combined with the pattern of ska music. This work of "Red Bridge" is a self-expression of the author with a form manifested into three plot sections, based on the development of the song "Red Bridge" as well as brass session patterns, which are appeared in a series of ritems and sentences using composition techniques used as binding of this work.Keywords: Jembatan Merah
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Kang, Yingzheng. "Jean Rémusat's Musical and Educational Activity in the Context of Forming European Orchestral Traditions in Shanghai." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(54) (March 21, 2022): 91–104. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255430.
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The author considered the main stages of creative formation and musical-educational as well as concert-performance activities of Jean Rémusat (J. Rémusat) in Europe and China. J. Rémusat's achievements as a flutist are examined in the context of his orchestral practice in Parisian and London theaters. Concert programs of J. Rémusat's performances as a soloist and member of ensemble groups on the basis of music-critical publications of Shanghai periodicals of 1860-1870 were analyzed. The main directions of his creative collaboration with other European musicians (G.B Fentum, J. C. H. Iburg) is highlighted in the cultural leisure of Shanghai in the western sector of the city. The author identified the role of the French musician in the founding of the Shanghai Philharmonic Society and the Wind Music Association to intensify the concert and performance activities of local amateur groups and professional musicians and hold their regular performances in front of citizens. It is emphasized that the organization of J. Rémusat's concerts is based on European experience, offering various forms of performances by artists with a repertoire available to the local public. The work of J. Rémusat, conductor and musician-educator, is described in view of his founding of private orchestral groups and his close cooperation with military musicians on the way to creating an amateur group "Shanghai Volunteer Brass Band". The process of professionalization of the amateur orchestra and the development of instrumental composition with the involvement of qualified musicians on the way to its transformation into a symphonic ensemble is highlighted. The orchestra repertoire based on works by classical and romantic composers is described. The representative functions of the orchestra in the celebration and participation in various citywide cultural events in Shanghai is clarified. The principle of formation of the instrumental composition of the municipal orchestra by professional musicians is revealed. It has been found that in the selection of orchestras, J. Rémusat preferred Filipino instrumentalists, who after a three-hundred-year period of Spanish colonial dependence were more familiar with Western orchestral culture than local Chinese musicians. The decisive role of Jean Rémusat as an active propagandist of European orchestral traditions in the creation of the official municipal "Shanghai Public Brass Band" (Shanghai Public Band) has been proved.
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Sheldon, Deborah A. "Effects of Multiple Listenings on Error-Detection Acuity in Multivoice, Multitimbral Musical Examples." Journal of Research in Music Education 52, no. 2 (July 2004): 102–15. http://dx.doi.org/10.2307/3345433.
Full textAbstract:
This study is an investigation of the effects of multiple listenings on error-detection identification and labeling accuracy among brass and woodwind instrumentalists. Examples derived from band music used balanced four-voice incipits performed with differing timbres, and errors that occurred in one or multiple voices. Response rates for correct and incorrect identification and labeling of errors were greatest during the first listening, less for the second, and least for the third. Identification mistakes outnumbered correct responses in the last two listenings. Error-labeling mistakes outnumbered correct responses in all listenings. Most correct responses in the first listening were made in the top two lines. During all listenings, the fewest correct identification and labeling responses occurred in the bottommost voice. Data suggest that multiple listenings and a correct aural referent may not help error-detection acuity in multitimbral, multivoice settings. These data may be useful in informing practice in conducting and methods instruction during teacher-preparation programs.