Relevant bibliographies by topics / Brass music

Contents

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

Academic literature on the topic 'Brass music'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Brass music"

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Hoult, David. "Music for brass." British Journal of Music Education 10, no. 3 (November 1993): 284–87. http://dx.doi.org/10.1017/s0265051700001923.

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Conrad, Charles P., and Anthony Plog. "Colors for Brass: Music for Brass Octet." American Music 15, no. 2 (1997): 258. http://dx.doi.org/10.2307/3052740.

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Herbert, Trevor. "Brass." Musical Times 128, no. 1730 (April 1987): 214. http://dx.doi.org/10.2307/965438.

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Bevan, Clifford. "Brass." Musical Times 127, no. 1718 (May 1986): 254. http://dx.doi.org/10.2307/965453.

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

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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to address this lack by offering a comprehensive account of the contemporary situation of brass band music in Ghana. I trace the history of this musical world and explore the diverse ways military and missionary activities have shaped amateur brass band musical activities in Ghana. I discuss the distribution and band formations across Ghana, viewing it in five sections that detail different types of brass bands; church, town, service, school and “sharbo” bands. I continue by looking at the beginning, development, workings and indigenisation of European military music in local popular culture and provide an account of brass band music as observed in Ghana today. I argue that indigenisation is not a straightforward process of adaptation, rather, indigenisation is a process of ongoing aesthetic tensions and differences resulting in new musical forms and new forms of socialisation organised around musical performance.
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Steinbrecher, Bernhard, and Bernhard Achhorner. "“Boundlessly Different”." Journal of Popular Music Studies 32, no. 4 (November 30, 2020): 118–47. http://dx.doi.org/10.1525/jpms.2020.32.4.118.

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Brass music has become increasingly popular in recent years in Europe’s German-speaking regions, especially among young people, who attend brass festivals, such as Woodstock der Blasmusik, in great numbers. This article examines this phenomenon within the context of its historical weight. Particularly in Austria, brass music is intertwined strongly with local cultural activity and heritage, alpine folklore, and national identity, with the Habsburg Monarchy and the Nazi era as well as with the rise of Volkstümliche Music and Austrian popular music. The study pinpoints the initial spark of the current popularity to the early 1990s, when young brass musicians set new tones musically and culturally. It illustrates how bands such as Mnozil Brass and Innsbrucker Böhmische, and later Viera Blech and LaBrassBanda, renegotiated established conceptions, ideas, and attitudes, and how they have, or have not, overcome habitualized ways of performing and enjoying brass music. On a broader level, the article uncovers how narratives related to regionality, Heimat, community, institutionalization, virtuosity, internationality, openness, corporality, and hedonistic pleasure all come together, at times in contradictory ways, in the media and musicians’ ethical-aesthetic discussion about contemporary brass music. Ultimately, a close music-analytical reading of selected songs shows how the music fosters and reflects these interrelations.
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O'Loughlin, Niall. "Brass Ensemble." Musical Times 126, no. 1703 (January 1985): 34. http://dx.doi.org/10.2307/962451.

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O'Loughlin, Niall. "Low Brass." Musical Times 126, no. 1704 (February 1985): 101. http://dx.doi.org/10.2307/963484.

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Downey, Peter. "Brass histories." Early Music 44, no. 4 (November 1, 2016): 643–45. http://dx.doi.org/10.1093/em/caw103.

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Herbert, Trevor, Lutoslawski, and Maxwell Davies. "Five Brass." Musical Times 126, no. 1710 (August 1985): 470. http://dx.doi.org/10.2307/964326.

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Dissertations / Theses on the topic "Brass 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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Brown, Philip. "Brass music during the American revolutionary era /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11253.

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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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Wordelman, Peter Dale. "Daniel Moe's choral works with brass accompaniment." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185475.

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Many twentieth-century American composers have written works for chorus with brass accompaniment. This study focuses on the compositional techniques Daniel Moe applies to his brass and choral works and the musical and religious influences that aided in the development of Moe's composition language. Eight of Daniel Moe's works for brass and chorus are analyzed to determine the influences and techniques employed in his style of composition. The analysis reveals: the choir and brass remain independent and never dominate each other, the brass consistently play at their loudest dynamic levels while the choir is not singing, the heights of the choral phrases are unaccompanied, and final cadences are voiced with the highest pitches in the choral writing which allows an equality of forces. As a conductor, Moe has encountered many Venetian and contemporary works for brass and chorus that had a direct result on the techniques he applied to his brass and choral works. The evidence suggests that Daniel Moe's choral works with brass accompaniment involve a combination of twentieth-century harmonies and rhythms, Biblical and liturgical texts influenced by his strong Lutheran heritage, and a style of transparent scoring which carefully integrates the brass instruments into the overall texture of his compositions.
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Goforth, Stephen Tucker Pezel Johann Scheidt Samuel. "Baroque ornamentation practices applied to transcriptions for the modern brass quintet using selected compositions of Johann Pezel and Samuel Scheidt /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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Gee, Kate A. "Lives and careers in music : a social identity perspective on brass music-making." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/896/.

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This thesis presents a qualitative investigation of brass musicians' identities. It explores the lives and careers of 40 elite musicians through narrative interviews, and of 572 amateurs, semi-professionals and professionals in an online survey. Combining theories from social psychology and music psychology (social identity theory (Tajfel, 1979) and musical identity (MacDonald, 2002)) enables the musician to be considered as a social category, and from this to develop a contemporary and novel investigation into musicians' identities. Literature reviews and empirical data develop arguments on three current musical debates concerning the changing nature of musicians' identities: the relationships between instrument choice and identity the historical and current beliefs about gender and music-making the changing nature of higher education and developing a musical career Previous research on instrument choice has focused on gender in children's decision- making processes. However, the present empirical work shows the importance of social worlds, particularly the home, and of role models within the home in developing a positive musical identity. A socio-cultural / socio-historical approaches are used to further understand the changing perceptions and position of women in brass music-making. The empirical research examines the successes and barriers experienced by the few contemporary female brass musicians working in the UK. Finally, the contemporary literature concerning the effects of musical training on becoming and being a musician is examined. The empirical research takes narratives from professional classical performers from across the lifespan, to explore the impact of training, performing, and developing a career on their identities. The thesis concludes with an evaluation of the application of social identity theory in this context, and its relevance for practitioners and researchers.
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Simpson, Stacy L. "MUSIC FOR BRASS QUINTET WITH ORCHESTRAL ACCOMPANIMENT: COMMISSIONED WORKS, THE ANNAPOLIS BRASS QUINTET, AND A SURVEY OF LITERATURE FOR BRASS QUINTET AND ORCHESTRA." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/67.

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Today’s leading brass chamber ensemble is the brass quintet, whose inception was relatively late compared to the string quartet or woodwind quintet. The first modern brass quintet formed in the 1950s, while the first string quartet can be traced to the 17th century. Compositions for woodwind quintet were written as early as 1811 during the Classical Period. The New York Brass Quintet, American Brass Quintet, and Annapolis Brass Quintet commissioned a large portion of the currently existing brass quintet literature. The literature grew exponentially as the brass quintet became popular in the 1960s. Also during this time, a new genre of works emerged for brass quintet with orchestral accompaniment. The paper references fifty-seven works for the brass quintet with orchestral accompaniment that were found through music catalogues, reviews, recordings and searching JSTOR, World Cat and Google. Since the author was not able to discover any scholarly treatment of this genre, this paper will address the gap and unearth the quantity of literature available. Many of these works are unrecorded. While there are many existing scores in the literature, there is a resurgence of compositions currently being written for brass quintet with orchestral accompaniment. This document is presented in two parts: Part I, “Overview of Brass Chamber Music in the Twentieth Century,” “Earliest Music in the United States for Brass Chamber Ensembles,” “A Brief History of the Modern Brass Quintet,” “Annapolis Brass Quintet,” and “A Survey of Existing Works for Brass Quintet and Orchestra.” The second part of this dissertation contains materials which are pertinent to the Doctor of Musical Arts Degree which include recital programs, program notes, and vita.
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King, Daniel R. "An analysis and comparison of the brass methods by James Stamp, Donald Reinhardt, Carmine Caruso, and Claude Gordon." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1070918203.

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Books on the topic "Brass music"

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

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Music for brass. Calstock, Cornwall, U.K: Peterloo Poets, 1990.

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Anderson, Paul G. Brass music guide: Ensemble music in print. Northfield, Ill: Instrumentalist Co., 1987.

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Anderson, Paul G. Brass music guide: Ensemble music in print. Northfield, IL: Instrumentalist, 1987.

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Steenstrup, Kristian. Teaching brass. Aarhus [Denmark]: Det Jyske Musikkonservatorium, 2004.

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

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House, Lawrence. Music for chorus and brass quintet. [Saskatoon]: Dept. of Music, University of Saskatchewan, 1992.

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Brass music of black composers: A bibliography. Westport, Conn: Greenwood Press, 1996.

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Pinkham, Daniel. Morning music: For organ and brass quintet. Boston, Mass: Ione Press, 1996.

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Pilafian, Sam. The brass gym: Euphonium : a comprehensive daily workout for brass players. [S.l.]: Focus on Music, 2006.

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Book chapters on the topic "Brass music"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "Brass Principles." In The Teaching of Instrumental Music, 291–308. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-21.

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Eargle, John M. "Acoustics of Brass Instruments." In Music, Sound, and Technology, 121–39. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-011-7070-3_7.

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Eargle, John M. "Acoustics of Brass Instruments." In Music, Sound, and Technology, 125–46. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_7.

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Vergez, Christophe, and Patrice Tisserand. "The BRASS Project, from Physical Models to Virtual Musical Instruments: Playability Issues." In Computer Music Modeling and Retrieval, 24–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11751069_2.

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"brass." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.01589.

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Newsome, Roy. "Music in nineteenth-century Britain." In Brass Roots, 7–22. Routledge, 2019. http://dx.doi.org/10.4324/9780429027673-2.

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Newsome, Roy. "Principal arranger/composers and their music." In Brass Roots, 135–61. Routledge, 2019. http://dx.doi.org/10.4324/9780429027673-8.

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

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

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

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Conference papers on the topic "Brass music"

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Worland, Randy. "Measuring brass instruments: A 'Physics of Music'." In 167th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4898416.

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Fratila, Mariana. "MUSIC- TEXT SYMBIOSIS IN DANIELA COJOCARU�S EVENING OF BRASS LIED." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.014.

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Krysciak, Daniel, Stefan Rung, and Ralf Hellmann. "Time Dependance of Wetting Behaviour after Applying Low Spatial Frequency Lipss with Three Different Wavelengths on Brass." In MultiScience - XXX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2016. http://dx.doi.org/10.26649/musci.2016.017.

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Celentano, Frank, Nicholas May, Edward Simoneau, Richard DiPasquale, Zahra Shahbazi, and Sina Shahbazmohamadi. "3D Printing for Manufacturing Antique and Modern Musical Instrument Parts." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-66652.

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Professional musicians today often invest in obtaining antique or vintage instruments. These pieces can be used as collector items or more practically, as performance instruments to give a unique sound of a past music era. Unfortunately, these relics are rare, fragile, and particularly expensive to obtain for a modern day musician. The opportunity to reproduce the sound of an antique instrument through the use of additive manufacturing (3D printing) can make this desired product significantly more affordable. 3D printing allows for duplication of unique parts in a low cost and environmentally friendly method, due to its minimal material waste. Additionally, it allows complex geometries to be created without the limitations of other manufacturing techniques. This study focuses on the primary differences, particularly sound quality and comfort, between saxophone mouthpieces that have been 3D printed and those produced by more traditional methods. Saxophone mouthpieces are commonly derived from a milled blank of either hard rubber, ebonite or brass. Although 3D printers can produce a design with the same or similar materials, they are typically created in a layered pattern. This can potentially affect the porosity and surface of a mouthpiece, ultimately affecting player comfort and sound quality. To evaluate this, acoustic tests will be performed. This will involve both traditionally manufactured mouthpieces and 3D prints of the same geometry created from x-ray scans obtained using a ZEISS Xradia Versa 510. The scans are two dimensional images which go through processes of reconstruction and segmentation, which is the process of assigning material to voxels. The result is a point cloud model, which can be used for 3D printing. High quality audio recordings of each mouthpiece will be obtained and a sound analysis will be performed. The focus of this analysis is to determine what qualities of the sound are changed by the manufacturing method and how true the sound of a 3D printed mouthpiece is to its milled counterpart. Additive manufacturing can lead to more inconsistent products of the original design due to the accuracy, repeatability and resolution of the printer, as well as the layer thickness. In order for additive manufacturing to be a common practice of mouthpiece manufacturing, the printer quality must be tested for its precision to an original model. The quality of a 3D print can also have effects on the comfort of the player. Lower quality 3D prints have an inherent roughness which can cause discomfort and difficulty for the musician. This research will determine the effects of manufacturing method on the sound quality and overall comfort of a mouthpiece. In addition, we will evaluate the validity of additive manufacturing as a method of producing mouthpieces.
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