Dissertations / Theses: '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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Siler, Nathan John. "A History of the CCM Brass Choir." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1354550757.

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Herak, Diana Droste. "A Survey of Active Brass Bands in the State of Ohio." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406740783.

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Pheiffer, Marius. "An evaluation of aspects in the applied physiology of brass players." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8151.

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Includes abstract.
Includes bibliographical references (leaves 78-81).
The study is based on the research of Arnold Jacobs, one of the most influential teachers and performers in the brass community. The first chapter gives a background and rationale to the study and a biography of Jacobs. The second chapter introduces the reader to concepts in anatomy and the physiology of brass players. The knowledge of anatomy is necessary to counter the misinformation circulating in the brass and musical community. One such topic is the notion of diaphragmatic support, one of the most misunderstood topics in brass playing. This dissertation tries to provide the correct anatomical information to the reader in order for him/her to make correct decisions with regard to efficient performance practice.

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Frederickson, Matthew L. "Standards in the studio how are the National Standards for Music Education implemented within the collegiate low brass studio? /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4789.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 27, 2007) Vita. Includes bibliographical references.

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Taylor, Mark A. (Mark Amdahl). "British-Style Brass Bands in U.S. Colleges and Universities." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955014/.

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Since the 1980s, British-style brass bands - community ensembles modeled after the all-brass and percussion bands of Great Britain - have enjoyed a modest regeneration in the United States. During this same period, as many as 23 colleges and universities in the U.S. have founded their own curricular or extra-curricular brass band. The purpose of this research study was: to discover which schools sponsor a brass band currently; to discover which schools formerly sponsored a brass band but have since discontinued it; to describe the operational practices of collegiate brass bands in the U.S.; and to determine what collegiate brass band conductors perceive to be the challenges and benefits of brass band in the curriculum. Data for the study were collected between February, 2015 and February, 2016 using four custom survey instruments distributed to conductors of college and university brass bands. The results showed that 11 American collegiate institutions were sponsoring a brass band during the period of data collection. Additional findings included descriptions of the operations of collegiate brass bands, such as availability of credit, rehearsal time, and instrumentation. Results also included the conductors' reported perceptions that both challenges and benefits are inherent in student brass band participation, and that brass band is a positive experience for students. An additional 3 community-based brass bands, not sponsored by but located near a college or university, were found to include collegiate students among their player personnel. A total of 9 schools formerly sponsoring brass bands were found to have discontinued their program. A repertoire analysis of 733 titles of compositions performed by both active and formerly active brass bands revealed that bands performed original works for brass band nearly as often as transcribed or arranged works.

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Lewis, Joseph M. Jr. "The Development of Civil War Brass Band Instruments into Modern-Day Brass Band Instruments with a Related Teaching Unit For a High School General Music Course." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431035985.

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Ewing, Melissa. "Examining the Under-Representation of Female Euphonium Players in the USA." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703396/.

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Females make up the minority in professional euphonium playing and teaching roles in the USA. The purpose of this research is to unveil the reasons behind this imbalance and to discover potential impacts females experience as a minority in the field. Research methods included sending a questionnaire to professional female euphonium players and teachers to document the experiences of participants. A secondary purpose of this study is to further document the existence of past and present potential female euphonium role models. Through a discussion of possible origins of and reasons behind a perceived lack of female euphonium players, I am seeking ways to achieve greater parity by garnering a more comprehensive understanding of the challenges faced by female euphonium players.

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Van, Staden Jacobus M. C. "Exploring performance related anxiety in brass players." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/58984.

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Music performance anxiety (MPA) is primarily described as stage fright concerning musicians and performers and affects orchestral and professional musicians severely (Brugués, 2009; Plummer, 2007). As a result, literature on MPA focuses extensively on how it affects professional and adolescent musicians, but limited resources emphasise how it affects brass instrumentalists. The aim of the study is to investigate the occurrence and experience of MPA in brass players. Further, it aims to explore prominent symptoms in this population and what coping strategies are most effective against MPA. Ten brass (five French horn, three trumpet and two trombone) players, of whom eight are professional and two semi-professional musicians, with varying performance experience, participated in this study. The study uses a qualitative research approach and falls into the interpretive paradigm. A multiple case study design was followed. The data were collected through semi-structured interviews, probing each participant’s reported experiences and coping strategies. MPA inhibits a brass player’s musical performance in areas such as musical expression, technical proficiency, physical endurance, tone quality and enjoyment. The results suggest that most of the participants experienced MPA since childhood, regardless of the starting age, and experiences of this condition varied over time throughout adulthood. The symptoms of MPA manifests physiologically (shaking, dry mouth, increased heart rate, sweating), behaviourally (muscle tension, shaking, dry lips), and cognitively (negative thought processes). First-time experiences of a musically demanding task such exams and Eisteddfods, with intimidating audiences, impacted early signs of severe MPA symptoms such as shaking and had a blunting effect on performance quality. Increased task difficulty, limited performance opportunities, auditions, recitals, and orchestral environments, which exposed the player’s performing ability under pressure, had a profound influence on recent experiences of MPA. These situations evoked multiple symptoms such as dry mouth, accelerated heartbeat, shortness of breath, negative thoughts/feelings and self-doubt. Symptoms such as a dry mouth, accelerated heartbeat, shortness of breath, and shaking affects a brass player’s musical performance severely, since it inhibits tone quality and influences musical spontaneity. Therefore, these symptoms affect technical proficiency among brass players negatively since performing these instruments are physically demanding. The results also showed that teachers gave useful advice concerning performing a brass instrument under pressure. The advice was useful among the participants’ lived experiences of MPA, particularly regarding early-experienced symptoms. The experiences of MPA in high demanding performance settings resulted in a better understanding of the situation over time, and led to the reported coping strategies against MPA, which enhanced optimal performance and reduced symptoms. The study concludes that MPA adversely affects brass instrumentalists, particularly the physiological manifestation of the condition. More research is needed to identify symptoms unique to this instrument group and the most effective coping strategies.
Mini Dissertation (MMus)--University of Pretoria, 2016.
Music
MMus
Unrestricted

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Myers, Arnold. "Characterization and taxonomy of historic brass musical instruments from an acoustical standpoint." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/1824.

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The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined.

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Hoh, Lyndsey. "The sound of metal : amateur brass bands in southern Benin." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:d47d74ec-39f0-4ed8-87fa-91094174009d.

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This thesis contributes an empirically informed understanding of postcolonial experience and musical expression in West Africa through an ethnographic study of amateur brass bands (fanfares) in the Republic of Benin. During the nineteenth and twentieth centuries, the Western hegemonic cultural tradition of the brass band was exported across the globe through imperialist institutions such as the military and the church. Music in colonial Dahomey was an integral part of the French civilizing mission, and the brass band took center stage. Brass bands remain pervasive in present-day Benin and perform in a multitude of political, social, and religious contexts. Previous scholarship subsumes postcolonial musical performance into social scripts of resistance, framing brass bands in particular within cultural modes of mimesis, indigenization, or appropriation. Pushing against these canonical narratives, this thesis illustrates apolitical, affective, and embodied modes of experiencing colonialism's material and musical debris. Broadly, the ethnography presented here speaks to four themes. The first of these is material. Evident in musicians' accounts are materials' sonic inclinations: how instrument design and disrepair constrain musical ideals, and how different metals encourage particular pitches and timbres. Present, too, is the social and affective capacity of material: how ideas about brass instruments shape histories, erect styles, construct tastes, move bodies, induce anxieties, and proffer futures. The second theme is precarity. Fanfare musicians âget byâ in an exploitative (musical) economy, are made anxious by ambiguous understandings of brass instruments, and manage an undercurrent of uncertainty in a social milieu rife with rumor and distrust. A third theme arising is that of the body, broadly conceived. This thesis illustrates the corporeal demands of fanfare performance, the embodied experience of blowing brass instruments, and the social value of bodily strength and exertion. The fourth theme is entanglement. Beninese musicians' experience of fanfare is entangled within (at times contradictory) ideas of the past, imaginings of the outside, emotions in the present, and expectations for the future. Entanglement likewise extends to musical instruments: the multiple valences of materials collide in brass instruments, as do histories, traditions, and feelings.

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

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

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Perkins, John Delbert. "The historical development and influence of the Philip Jones Brass Ensemble, emphasizing Elgar Howarth and his music." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008250.

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Bailey, Megan (Trumpeter). "A Pedagogical Guide to Brass Quintet Repertoire for the Trumpet." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538791/.

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In today's rapidly changing performing arts market, trumpet players are required to be more versatile than ever. Trumpet performing jobs are diversifying and for a trumpeter, employment often requires the multi-faceted skill set that includes the ability to perform in all styles and settings ranging from jazz to classical, solo to large ensemble and brass quintet. As the demand for the brass quintet medium has grown, the study of chamber music repertoire has also become a common requirement in collegiate music programs. However, coaching in chamber music is limited, sometimes to as little as one hour per week. This coaching time is generally in the format of a single coach instructing the full chamber group, and therefore one-on-one instruction/attention is limited or nonexistent, leaving the onus of learning on the students, for whom these collegiate chamber music ensembles are their first exposure to the medium. While students have ample access to concentrated instruction for orchestral, band, and opera excerpts through the multitude of existing excerpt books, such a resource for trumpet players learning brass quintet repertoire does not yet exist. The purpose of this project is to create a succinct guide to the performance of the trumpet parts of standard brass quintet repertoire.

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Bennett, Wayne Clifford III. "James Francis Burke's "Zorita" (c. 1968)| A transcribed edition for solo cornet and brass quintet." Thesis, The University of North Carolina at Greensboro, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3568819.

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James Francis Burke (1923-1981) was one of the most renowned cornet soloists of the Twentieth Century. Despite having no use of his right arm, the result of suffering an injury at birth, Burke learned to play the cornet at an early age and began to perform solos for movies and radio shows by the age of 11. He is remembered primarily as the Cornet Soloist of the Goldman Band, a position he held for 32 years (1943-1975). Burke also performed extensively with the Baltimore Symphony, Radio City Music Hall, and Brooklyn Philharmonic Orchestras and held teaching positions at the Peabody Conservatory (Baltimore, MD), Ithaca College (NY), Hofstra University (NY), and the University of Bridgeport (CT). During his lifetime Burke performed a number of cornet solos with band accompaniment and composed solos that he performed with the Goldman Band and others including Danza Alegre, The Magic Trumpet, Amourette, Hocus Polka, Jimala Beguine, Joneta, Jolene, and Zorita. Of these compositions, only Zorita is unpublished.

The purpose of this study was to transcribe the accompaniment for Burke's cornet solo, Zorita (c. 1968) for brass quintet. A secondary purpose of this study was to present a brief biographical sketch about Burke to provide historical context and background for the solo. A brief discussion of the work is included in this document, although complete analysis was beyond the scope of this study as was a complete biography of Burke.

The transcribed edition of the solo was created by consulting unpublished scores of Zorita and a recording of the solo performed by Burke. The original cornet solo remained intact and is presented with the transcribed brass quintet accompaniment. The accompaniment was scored for the traditional brass quintet instrumentation: two trumpets, horn, trombone, and tuba. This transcription, therefore, requires an additional cornet performer to be the soloist. Appropriate for concert performance by advanced students, Zorita balances bel canto melodies with highly technical scalar passages and extended sections of multiple articulation.

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Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.

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Kierman, Pamela Elizabeth. "Community brass : its role in music education and the development of professional musicians in the Western Cape." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2593.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.
Community music is at the innermost heart of any music society, yet its generally informal training structures have rendered it somehow second-class in the general view. South Africa‟s formal education structures have tended to favour the elite at the cost of those who are historically deprived, a pattern which developed centuries before the advent of legal Apartheid. This lack of official favour may be the source of the intensity of community music development in the Western Cape, a locus of cultural and ethnic diversity remarkable even in South Africa. Brass instruments, with their inherent portability and relative affordability, have been at the heart of much church music in the past two hundred years. For the Salvationists, the brass band has long been the „peripatetic organ‟ for use at services indoors or outdoors. For the German-related churches, the Posaunenchor, now a brass choir, fulfils many of the same functions. These and other informal structures like them tend to reproduce themselves by means of „apprenticeship‟ of novitiate players to experienced bandsmen. A substantial number of church-trained players have become professional in the context of military bands in the Cape and elsewhere in South Africa. Some have, with more formal training, become symphonic instrumentalists of considerable rank in South Africa. This dissertation sets out to describe the milieu from which brass-players have emerged when formal instrumental instruction has been unavailable to them. It describes past and current efforts to bolster and upgrade brass training for youth, and the ways in which this couples with social upliftment for youth. Perhaps most importantly, it furnishes information and tools for South Africa to join fully with international efforts to research the phenomena of community music and to better understand their significance.

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Skogh, Simon. "Trombonrösten på olika altituder : Registrets påverkan på musikens beståndsdelar." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4051.

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This thesis is about register and how it affects my playing through compositions and improvisation. As a brass musician, the high and low range is something that takes a lot of effort to master. How important is register for my artistic expression and how does register influence my music? My method to test this is by composing with a template where I have three musical components that I arrange in different registers. The first component is melody. The second one is ostinato, which in this thesis means something rhythmical that creates movement through time. The last component is harmony. In the next part of the thesis, I analyze all of my compositions and describe how I have worked with the template. I have also written about what difficulties we encountered as a band when we rehearsed the music. The band consists of me on trombone and bass trombone, Olle Vikström on tenor and baryton saxophone, Sara Karkkonen on piano, Johan Tengholm on bass and Henrik Jäderberg on drums. In the end of this thesis I discuss how register have influenced how the components work together like the clarity of the melody and how the harmony is affected by the melody.I find the instrumentation is of higher influence than the register but this specific constellation of instruments may have influenced how I perceive the components.

Konserten innehöll Fem originalkompositioner av Simon Skogh

Det var följande låtar

Vårflod

Väg 83

Stresspåsag

Reserestriktioner

Lyckligt slut

Medverkande musiker var

Simon Skogh tenortrombon och bastrombon

Olle Vikström tenorsaxofon och barytonsaxofon

Sara Karkkonen piano

Johan Tengholm Bas

Henrik Jäderberg Trummor

På grund av ett tekniskt fel fungerar inte en video som är inlagd i mitt arbete på sida 5 den är därför en egen fil uppladdad här.

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Eriksen, Kirstie. "The structures, playing techniques and teaching methods of four community brass bands in the Cape Peninsula." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12003.

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Includes abstract.
Includes bibliographical references.
The objectives of this study are to investigate the teaching methods embedded in the oral transmission of music knowledge, the musicians’ playing technique, the cultural and social benefits of music in the communities of the four bands, as well as to look at the advantages and disadvantages of aural and oral modes of transmission of knowledge in teaching.

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Weiss, Manfred. "Drei Sätze für Bläserchor." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-24013.

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PLUMMER, CHARLES D. "PERFORMANCE ENHANCEMENT FOR BRASS MUSICIANS USING EYE MOVEMENT DESENSITIZATION AND REPROCESSING." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1178855934.

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

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

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Sobba, Lyle Andrew. "An examination of major works for wind band and brass ensemble: “Funeral march for brass choir” by Edvard Grieg, “Dance mix” by Rob Smith, and “An original suite” by Gordon Jacob." Kansas State University, 2011. http://hdl.handle.net/2097/8524.

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Master of Music
Department of Music
Frank C. Tracz
The following report is research and analysis of major wind band literature for the Graduate Conducting Recital performed by the Kansas State University Wind Ensemble on March 13th, 2011 under the direction of Lyle Sobba. The repertoire for the concert was comprised of the following pieces: Funeral March for Brass Choir by Edvard Grieg, Dance Mix by Rob Smith, and An Original Suite by Gordon Jacob. This examination, through thorough research and theoretical analysis, is a compilation of the documents created to effectively rehearse the compositions. The report also contains documents pertaining to the planning and executing of the Graduate Conducting Recital.

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Cannon, Alexander Robert. "Defining characteristics of the brass music of Anthony Plog and their application in performance." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43425.

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This dissertation examines the defining characteristics in Anthony Plog’s brass music. Plog’s treatment of motive, delivery of musical expectation, and timbre creates music that is idiomatic for brass performers. While the information herein is intended to be informative for all brass musicians, Plog’s writing for the trumpet is particularly examined to illuminate the technical and artistic demands on trumpet players. Lauding the composer’s techniques, the dissertation may also be useful for composers interested in effective writing for brass musicians, especially in a chamber music setting. Myriad examples from Mr. Plog’s brass chamber repertoire demonstrate why his techniques yield outstanding compositions for brass. The cited works are Concerto No. 1 for Trumpet and Brass Ensemble (1988) for soloist and 16-member ensemble, Four Sketches (1990) for brass quintet, Postcards (1994) for solo trumpet, and Trio for Brass (1996) for flugelhorn, horn, and trombone. Commentary by Mr. Plog and noted trumpet performers of his works Nick Norton, Gabriele Cassone, Allan Dean, and David Hickman contribute to the understanding of the composer’s defining characteristics. With a refreshing approach to new music for brass, composer Tony Plog’s brass compositions are frequently programmed and have become staple works in the brass repertoire. Emphasizing the effectiveness of his approach to brass composition, it is the hope that this dissertation proves useful in preparing both extant and future brass works by Anthony Plog.

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Tomlison, Scott. "The effects of recorded models on the performance achievement of beginning brass instrumentalists /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9964004.

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Wampler, Stephen G. "A brass players' guide to the transcription and performance of J.S. Bach /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11393.

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Roseborrough, Andrew Jay. "The Modern Pedagogical Potential of the Baroque Natural Trumpet." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/411.

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Due to a break in its practice and pedagogy during the Classical and Romantic Eras, many misconceptions regarding the Baroque natural trumpet remain today. As newly discovered instruments and pedagogical materials have become known and disseminated, a resurgence in the performance of the natural trumpet has occurred, but its practice is still often conceived as wholly separate from modern trumpet technique. This study clarifies long-held misconceptions about the natural trumpet, describes its physical, pedagogical, and technical traits in comparison with the modern trumpet, and demonstrates that its concurrent practice with the modern trumpet is not only possible, but significantly beneficial. Qualities unique to the Baroque natural trumpet bestow upon it tremendous pedagogical potential for its simultaneous study with the modern trumpet. The possible benefits of this concurrent practice include increased embouchure strength, efficiency and endurance, the elimination of even badly entrenched negative habits, stronger fundamental abilities, and a better understanding of the performance of Baroque trumpet music. The plausibility of these pedagogical gains is evidenced by both modern and Baroque pedagogical literature, the scientific principles behind playing both types of trumpet, and the experiences of professional trumpeters who have demonstrated high levels of proficiency on both instruments.

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37

Lindberg, Matilda. "Instrumentpreferenser ur ett genusperspektiv : En studie i hur kvinnor och män relaterar till instrumentgrupperna trä- och bleckblåsinstrument." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12608.

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Youngs, Marisa B. "THE LANGUAGE OF MUSIC: LINGUISTICS IN TRUMPET PEDAGOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/115.

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For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.

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39

Sullivan, Michael. "A pedagogical approach for developing the endurance, technical facility and flexibility necessary to perform Anthony Plog's Concerto for Solo Trumpet, 14 Brass, and Percussion." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528052.

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Anthony Plog's Concerto for Trumpet, 14 Brass, and Percussion offers many performance issues and there are many methodologies and pedagogical concepts that one can utilize in order to achieve the endurance, flexibility, and technical facility required. This project report outlines readings and methodologies the author used to achieve the skills listed above. The first chapter discusses the objective pedagogy of David Hickman. Hickman's pedagogy encompasses an array of opinions on common developmental exercises. Chapter 2 concentrates on the methodology of James Stamp, emphasizing range building and endurance but with a unique approach that also develops sound production. The third chapter discusses Anthony Plog's methodology that directly concentrates on the technical facility required to play his concerto. The final chapter discusses preparation for the performance and choosing the appropriate instrument.

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40

Martin, Michael G. "A Study of the Original Composition "Land of Our Birth" for Male Chorus, Brass, Percussion, Woodwinds, and Piano." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376500829.

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41

DeCoste, Kyle. "Street queens| The Original Pinettes and black feminism in New Orleans brass bands." Thesis, Tulane University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599202.

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The musical traditions of New Orleans are largely patriarchal. As the predominant sonic signifier of New Orleans, the brass band amplifies this gender bias more than any other musical tradition in the city. Brass band song lyrics can at times revolve around the subjugation and objectification of women, which renders the brass band canon tricky to access for female musicians. These symbolic issues become socially reified in the male control of instruments and the barriers to professionalization experienced by female musicians. Indeed, female brass band musicians are in the minority, constituting few more than ten musicians in a city with somewhere in the vicinity of fifty bands, all of which feature about ten musicians. The available literature on brass bands has thus far focused almost exclusively on black men and, mostly due to the relative absence of women in brass bands, neglects to view gender as a category of analysis, reflecting the gender bias of the scene at large. Using black feminist theory, this thesis seeks to introduce gender as a key element to brass band research by studying the only current exception to male dominance in New Orleans’ brass band community, an all-female brass band named the Original Pinettes Brass Band. Their example forces us to reconsider the domain of brass band music not only as one where brass band instruments articulate power, but where gender is a primary element in the construction and consolidation of this power.

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42

Andersson, Johanna. "Trombon i blodet? : Vilka faktorer påverkar trombonelevers val av sitt instrument?" Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1664.

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In this survey I have been trying to find out which factors influence the students’ choice of instrument. I hope to, through the results, gain knowledge about how to reach interested students in my future work as a trombone educator.

I have let 15 students that have played trombone in the County Music Academy one to three years, answer my inquiry concerning their choice of instrument. The students’ parents were also asked to give an explanation to what they think made their child play the trombone and whether they tried to influence their child in the choice of instrument. The answers show clearly that these parents have not influenced their children’s choice of instrument and that the impression you and I as a teacher give during the first session seems to be of great importance.

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43

Rifkind, Justin, and Justin Rifkind. "Implementing New Orleans Brass Band Playing Into a Tuba and Euphonium Applied Lessons Course." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621090.

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The focus of this project is to examine current tuba and euphonium applied lessons syllabi and to create a New Orleans brass band curriculum supplement to enhance those existing courses. Through the addition of new method books, exercises, historical texts and articles, listening assignments, and performing experiences, collegiate tuba and euphonium students will be able to apply the knowledge gained in core academic music courses, such as music theory and music history, to mastering a new style of music. Emphasis has been placed on learning chord progressions, stylizations, and how to improvise and walk a bass line.

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44

Lytle, Stephen Charles. "Giving Voice to the Past: New Editions of Select Repertoire of the 26th Regiment Band, North Carolina Troops, C.S.A." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1273167211.

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45

Hinman, Daniel Joseph. "Pedagogical Use of Plainchant for Trombone: Its Application in Legato Studies and Ensemble Playing." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752383/.

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The purpose of this research is to explore the benefits of chant music and its pedagogical applications for the individual trombonist or ensemble member. Several common method books are examined and categorized as either musical exercise or lyrical etude. Through this analysis I highlight a gap between the two method types that can be bridged through practice of chant. I support this claim through an analysis of chant characteristics that make it an ideal candidate to encourage pure sound production and connection in a performable work. Practice of chant in trombone chamber or choir ensembles will also encourage the development of skills necessary to play as a member of a group. I propose regular practice of this music will aid the ensemble in blend and balance, intonation, articulation, and slide coordination. The final chapter of the research provides the reader with a brief summary of the works refenced to promote further study as one chooses.

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46

Sorensen, Randall J. "Original repertoire for the American Brass Quintet, 1962-1987 : a guide for performers and composers." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118241.

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This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire.
School of Music

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47

Crawford, Joel M. "Performance Practice of Brass Band Music of the American Civil War: A Perspective from Saxton's Cornet Band." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/53.

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

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48

Seybert, Austin. "The versatile trombonist: a curriculum based model for improving audiation skills for the 21st century trombonist." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7030.

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The original focus of this research paper was to ask the question, “Why are there so few versatile trombonists?” The research suggested that there were curriculum problems in higher education associated with the general lack of performance versatility amongst trombonists. In 2014 the Task Force for the Undergraduate Music Major (TFUMM) determined that the undergraduate curriculum was lacking improvisation and creativity. One of the core musical skills that is essential in improvising is audiation. After determining that audiation is one of the keys to performance versatility, I researched jazz pedagogy and how this area of higher education includes and utilizes audiation and improvisation in curriculum. I concluded that traditional conservatory-style pedagogy is lacking improvisation and audiation in its curriculum because of the bias towards the European music tradition and the institutional treatment of jazz as a legitimate art form that is not equal to the European music tradition.To address the issue of performance versatility amongst trombonists, I created the “Modern Trombonist Curriculum” in 2016. This was my first attempt to address undergraduate curriculum by exposing students to a three-studio model, literature versatility, and utilizing audiation as the foundation of their learning. I sent out this curriculum to ten educators and performers for critique and to provide their thoughts on the current landscape of performance versatility, audiation, and my curriculum. After the interviews and the insight of my dissertation committee, I created a new curriculum titled “The Versatile Trombonist” to address the constraints of time, colleague involvement, student engagement, mental health, fiscal concerns, and other issues that I did not originally consider. Although I plan to continually modify and adjust this curriculum, this current version can be used as a benchmark for future educators that desire to include audiation and performance versatility in their current or future trombone studios.

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49

Newsome, R. "The 19th century brass band in northern England : musical and social factors in the development of a major amateur musical medium." Thesis, University of Salford, 1998. http://usir.salford.ac.uk/2026/.

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This thesis examines the development of the amateur wind band in Britain during the nineteenth century, with special reference to the increasing domination of the brass band, particularly in northern England. After a preliminary review of British amateur wind bands generally, the growth of the brass band competition is investigated, showing how the contesting bands were initially concentrated in Yorkshire. The effects of industrial sponsorship and the emergence of the volunteer movement from 1859 are examined, along with the consequent shift in the concentration of bands from Yorkshire - mainly to Lancashire but also, to a limited degree, to other parts of the north and to the north midlands. Instrumentation and repertoire are also discussed, along with some collections of early band music. Part 2 of the thesis looks specifically at developments during the final quarter of the century, first of all in terms of repertoire, then through some of the personalities involved - conductors and players - before investigating the roles played by the best of the bands. Finally, having shown how a regional brass band movement grew from a nationwide net-work of wind bands, the thesis looks at ways in which the fledgling brass band movement began to spread, paving the way for the national and, indeed, international brass band movement of the twentieth century.

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Phelps, Amy Louise. "Beyond auditions: gender discrimination in America's top orchestras." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/874.

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Although women have slowly been accepted in America's top orchestras, they are still a minority. Certain instrument sections remain predominantly male in spite of the implementation of blind auditions. Inconsistency in the use of the screen in blind auditions is partially responsible for the lack of women in orchestras, but the problem is seeded in cultural constructions that act as barriers for female brass, percussion and string bass players. Gender constructions have dictated that women should not play instruments that are loud, heavy or require physical exertion. Nonetheless, many women have shown that they are capable of performing as well as men on these instruments. Brass players are often the highest paid in an orchestra, thus women musicians face economic discrimination when they face bias at the hiring level or in the workplace.

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Dissertations / Theses on the topic 'Brass music'

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