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Journal articles on the topic 'Brass music'

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Published: 4 June 2021
Last updated: 19 February 2022

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1

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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2

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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3

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

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4

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

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5

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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6

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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7

O'Loughlin, Niall. "Brass Ensemble." Musical Times 126, no. 1703 (January 1985): 34. http://dx.doi.org/10.2307/962451.

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8

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

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9

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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10

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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11

Herbert, Trevor. "Solo Brass." Musical Times 127, no. 1716 (February 1986): 96. http://dx.doi.org/10.2307/964572.

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12

O'Loughlin, Niall. "Modern Brass." Musical Times 129, no. 1739 (January 1988): 29. http://dx.doi.org/10.2307/964988.

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13

Jacobs, Arthur, Elgar Howarth, and Patrick Howarth. "Brass Band." Musical Times 130, no. 1752 (February 1989): 91. http://dx.doi.org/10.2307/966367.

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14

Pertl, Brian G., Rein Spoorman, Rob Boonzajer Flaes, Ernst Heins, G. Hobbel, and Miranda van der Spek. "Frozen Brass: Asia. Anthology of Brass Band Music #1." Ethnomusicology 40, no. 1 (1996): 149. http://dx.doi.org/10.2307/852457.

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15

Powell, Sean R., Molly A. Weaver, and Robin K. Henson. "Relationship of Preservice Music Teachers’ Primary Instrument Background and Teaching Effectiveness in Brass and Woodwind Techniques Classes." Journal of Music Teacher Education 27, no. 3 (September 26, 2017): 38–50. http://dx.doi.org/10.1177/1057083717733469.

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The purpose of this study was to examine the relationship between preservice music teachers’ primary instrument background and their teaching effectiveness in brass and woodwind techniques classes. Study participants ( N = 135) were preservice music teachers enrolled in secondary instrument techniques courses (brass and woodwinds) from fall 2011 through spring 2015 in three universities. Participants taught a 10-minute video recorded lesson to a beginning-level university student on a brass or woodwind instrument at the end of the semester. All videos were subsequently assessed by two researchers using a researcher-designed rubric. The results of analyses of variance showed that brass-teaching scores tended to be higher than woodwind-teaching scores for all groups. Brass players taught brass more effectively than woodwind players, and woodwind players taught woodwinds better than brass players. Brass and woodwind players scored higher than percussionists, vocalists, pianists, and string players in both brass and woodwind teaching. Implications for music teacher education are discussed.
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16

Thompson, Kevin. "Wind and Brass music surveyed." British Journal of Music Education 4, no. 2 (July 1987): 195–98. http://dx.doi.org/10.1017/s0265051700005969.

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17

Smithers, Don L. "Mozart's orchestral brass." Early Music XX, no. 2 (May 1992): 254–66. http://dx.doi.org/10.1093/earlyj/xx.2.254.

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18

O'Loughlin, Niall. "Brass in Profusion." Musical Times 133, no. 1790 (April 1992): 183. http://dx.doi.org/10.2307/965725.

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19

Webb, John. "19th-Century Keyed Brass." Musical Times 127, no. 1716 (February 1986): 83. http://dx.doi.org/10.2307/964561.

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20

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

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21

Conrad, Charles P. "Summit for Brass: American Tribute." American Music 15, no. 1 (1997): 120. http://dx.doi.org/10.2307/3052707.

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22

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

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23

Castanet, Pierre-Albert, and Mark J. Fasman. "Brass Bibliography Sources on the History, Literature, Pedagogy, Performance, and Acoustics of Brass Instruments." Revue de musicologie 78, no. 2 (1992): 332. http://dx.doi.org/10.2307/946990.

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24

Hewitt, Michael P., and Bret P. Smith. "The Influence of Teaching-Career Level and Primary Performance Instrument on the Assessment of Music Performance." Journal of Research in Music Education 52, no. 4 (December 2004): 314–27. http://dx.doi.org/10.1177/002242940405200404.

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The purpose of this investigation was to examine the influence of teaching-career level and primary instrument on music teachers' assessment of music performance. The main and interaction effects of three career-level conditions (in-service teachers, upper-division undergraduate students, and lower-division undergraduate students) were examined, along with two primary instrument conditions (brass, not brass), on tone, intonation, melodic accuracy, rhythmic accuracy, tempo, interpretation, and technique/articulation. Participants ( N=150) listened to performances of six junior high trumpet players of various abilities and rated them using the Woodwind Brass Solo Evaluation Form (Saunders & Holahan, 1997). No statistically significant differences were found for the vast majority of interactions or main effects for either career level or instrument condition, suggesting that no relationship exists between teaching-career level and primary performance instrument on the evaluation of music performances. June 1, 2004 October 27, 2004.
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25

Herbert, Trevor. "Solo and ensemble brass instrument recordings." Early Music 47, no. 2 (April 9, 2019): 277–80. http://dx.doi.org/10.1093/em/caz033.

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26

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

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Considerable time and print has been expended in attempting to define and date the first British brass band. This controversy should take a subordinate place to the more interesting questions that can be applied to the topic of brass bands when, unambiguously, they do exist as a fairly widespread activity and can reasonably be regarded as the active embryo of the standard ensembles which eventually formed the brass band ‘movement’.
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27

Conway, Paul. "Cheltenham Festival 2005." Tempo 60, no. 235 (January 2006): 64–65. http://dx.doi.org/10.1017/s0040298206220060.

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28

Harper, Adam. "Metal Wood Skin: The Colin Currie Percussion Festival, Southbank Centre, London." Tempo 69, no. 272 (April 2015): 69–72. http://dx.doi.org/10.1017/s0040298214001119.

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‘THE PERCUSSION UNIVERSE OF AXEL BORUP-JØRGENSEN’: Solo; Music for percussion + viola; La Primavera; Periphrasis; Winter Music. Gert Mortensen (perc.), Percurama Percussion Ensemble, Tim Frederiksen (vla), Duo Crossfire, Michala Petri (rec.), DNSO Brass Quintet. OUR Recordings
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29

Green, Helen. "Defining the City ‘Trumpeter’: German Civic Identity and the Employment of Brass Instrumentalists, c.1500." Journal of the Royal Musical Association 136, no. 1 (2011): 1–31. http://dx.doi.org/10.1080/02690403.2011.562714.

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This article examines the employment of brass instrumentalists in German cities around 1500, as a reflection of the political circumstances of the epoch, where rivalry between the distinct components of the social hierarchy encouraged the assertion of power and status through musical patronage. Archival records and contemporary chronicles provide invaluable insights into the performances of civic brass instrumentalists, whether in the provision of signals (by the city watchmen or those who played alongside the cities’ troops) or for the entertainment of the citizens and their guests (within the civic instrumental ensembles – the Stadtpfeifer (‘town pipers’)). Although the use of ambiguous nomenclature in contemporary records can hinder a definitive understanding of the instruments used by these musicians, the musicians different duties within the city walls can often be inferred. Important insights can thereby be gained into the extent of the patronage of these civic brass instrumentalists, their roles within everyday city life, and their resultant contribution to the communication of civic strength to the populace and their guests.
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30

Lang, Alfred J., Brass Ring, and EKU Brass. "New American Classics Written for Brass Ring." American Music 16, no. 4 (1998): 495. http://dx.doi.org/10.2307/3052297.

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31

Laursen, Amy, and Kris Chesky. "Addressing the NASM Health and Safety Standard through Curricular Changes in a Brass Methods Course: An Outcome Study." Medical Problems of Performing Artists 29, no. 3 (September 1, 2014): 136–43. http://dx.doi.org/10.21091/mppa.2014.3029.

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The National Association of Schools of Music (NASM) recently ratified a new health and safety standard requiring schools of music to inform students about health concerns related to music. While organizations such as the Performing Arts Medicine Association have developed advisories, the exact implementation is the prerogative of the institution. One possible approach is to embed health education activities into existing methods courses that are routinely offered to music education majors. This may influence student awareness, knowledge, and the perception of competency and responsibility for addressing health risks associated with learning and performing musical instruments. Unfortunately, there are no known lesson plans or curriculum guides for supporting such activities. Therefore, the purpose of this study is to (1) develop course objectives and content that can be applied to a preexisting brass methods course, (2) implement course objectives into a semester-long brass methods course, and (3) test the effectiveness of this intervention on students’ awareness, knowledge, perception of competency, and responsibly of health risks that are related to learning and performing brass instruments. Results showcase the potential for modifying methods courses without compromising the other objectives of the course. Additionally, students’ awareness, knowledge, perception of competency, and responsibility were positively influenced as measured by changes in pre to post responses to survey group questions.
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32

Handel, Stephen, and Molly L. Erickson. "Sound Source Identification: The Possible Role of Timbre Transformations." Music Perception 21, no. 4 (June 1, 2004): 587–610. http://dx.doi.org/10.1525/mp.2004.21.4.587.

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Timbre is typically investigated as a perceptual attribute that differentiates instruments at one pitch. Yet the perceptual usefulness of timbre is that it allows listeners to recognize one instrument at different pitches. Using stimuli produced across the playing range by three wind instruments from two categories, woodwind and brass, we measured listeners' judgments of instrumental timbre across pitch in a dissimilarity task and measured listeners' ability to identify stimuli as being produced by the same or different instrument in a three-note oddball task. The resulting multidimensional scaling representation showed that Dimension 1 correlated with pitch, whereas Dimension 2 correlated with spectral centroid and separated the instrumental stimuli into the categories woodwind and brass. For three-note sequences, the task was extremely difficult for the woodwind pair, with listeners typically choosing the most dissimilarly pitched stimulus as coming from the oddball source. In contrast, the three-note sequences were easy for the woodwind-brass pairs. The results from these experiments illustrate the difficulty of extrapolating the timbre of a sound source across large differences in pitch.
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33

Preston, Keith. "Book Review: Brass Roots: A Hundred Years of Brass Bands and Their Music (1836–1936)." Journal of Historical Research in Music Education 23, no. 1 (October 2001): 74–79. http://dx.doi.org/10.1177/153660060102300107.

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34

Byrne, Frank, Frigyes Hidas, Dan Welcher, Sydney Hodkinson, and Pierre-Petit. "Quintetto d'ottoni (Brass Quintet)." Notes 41, no. 4 (June 1985): 788. http://dx.doi.org/10.2307/940891.

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35

Fuhrmann, Anita, Suzanne Wijsman, Philip Weinstein, Darryl Poulsen, and Peter Franklin. "Asthma Among Musicians in Australia: Is There a Difference Between Wind/Brass and Other Players?" Medical Problems of Performing Artists 24, no. 4 (December 1, 2009): 170–74. http://dx.doi.org/10.21091/mppa.2009.4034.

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Control of respiration is important in wind/brass instrument playing. Although respiratory diseases, such as asthma, may affect breathing control, little is known about the prevalence of asthma among wind and brass musicians. The aim of this study was to compare the prevalence of self-reported asthma between wind/brass musicians and non-wind/brass musicians through different stages of experience. A total of 1960 musicians completed a respiratory health questionnaire. The participants were categorized into the following five subgroups: primary students, secondary students, tertiary students, community musicians, and professional musicians. Chi-squared and logistic regression analyses were used to compare asthma prevalence and related health outcomes between wind/brass and non-wind/brass musicians. There were no significant differences in current asthma prevalence between the wind/brass and other musicians in any of the subgroups, apart from tertiary students in whom the prevalence of asthma and related outcomes appeared to be higher among wind/brass musicians. Asthma prevalence among musicians in our survey was similar to that in the overall population. The results suggest that having asthma does not significantly affect participation in music, the choice of instrument to learn (wind/brass or other), or progression to elite levels as a musician.
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36

Lewis, Lucinda. "Broken Embouchures, response to a book review." Medical Problems of Performing Artists 19, no. 2 (June 1, 2004): 102–3. http://dx.doi.org/10.21091/mppa.2004.2016.

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I was quite surprised when I learned that there was interest in reviewing my book, Broken Embouchures, in Medical Problems of Performing Artists. The book was written for professional brass players who have encountered performance-related embouchure problems and lip injuries and uses terminology unique to music and brass technique. Although I suspected that a non¿brass player would have difficulty fully understanding our peculiar lingo, I had hoped that a review of the book might offer the performing arts medical community a new insight into how brass players suffer overuse. Dr. David M. Steinhorn reviewed Broken Embouchures. Although he understood its message better than I would have expected from a musical layperson, I would like to respond to a few of his observations.
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37

Berlin, Edward A. "Brass Knuckles: An Excursion into Contemporary Ragtime Compositions." American Music 16, no. 3 (1998): 371. http://dx.doi.org/10.2307/3052652.

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38

Worland, Randy. "Measuring brass instruments: A “Physics of Music” lab exercise." Journal of the Acoustical Society of America 132, no. 3 (September 2012): 1958. http://dx.doi.org/10.1121/1.4755210.

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39

Sehmann, Karin Harfst. "The Effects of Breath Management Instruction on the Performance of Elementary Brass Players." Journal of Research in Music Education 48, no. 2 (July 2000): 136–50. http://dx.doi.org/10.2307/3345572.

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The present study is an investigation of the effects of breath management instruction on the performance of elementary brass players. The experimental group ( N = 32) received instruction on the use of air during brass performance. The control group ( N = 29) continued with instruction from their method books. Three measures for breathing (thoracic displacement, abdominal displacement, and lung capacity) and for performance (range, duration, and tone quality) were the dependent variables. The data were analyzed using multivariate and univariate analyses of covariance. Independent variables included group (experimental and control), instrument (trumpet, horn, and trombone), and grade level (fourth, fifth, and sixth). Main effects for group showed that the experimental group had significantly higher scores on measures of abdominal displacement, range, and duration ( p < .05). There were no treatment-by-instrument or treatment-by-grade-level interactions. Breathing instruction in group lessons was effective in improving the breathing and performance of elementary brass players.
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40

Copeland, Lyndsey. "Pitch and tuning in Beninese brass bands." Ethnomusicology Forum 27, no. 2 (May 4, 2018): 213–40. http://dx.doi.org/10.1080/17411912.2018.1518151.

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41

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

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In recent years, historians have belatedly recognised the growth of the British brass band as one of the most remarkable developments in the sphere of popular music-making in the second half of the nineteenth century. Not only did ‘banding’ provide an absorbing pastime for tens of thousands of amateur musicians, but brass band performances also fulfilled an important cultural and educational role in introducing the standard classics of the bourgeois musical canon to mass audiences who never saw the inside of an opera house or a concert hall. In addition, satisfying the needs of these new-style bands for music, instruments, uniforms and other impedimenta led to the growth of a group of small, specialised and resourceful enterprises which successfully developed a mass market for their wares in Britain and the colonies. By the end of the 1890s, there could have been few towns or villages, whether in the remoter parts of the British Isles or even the most far flung corners of the white dominions, where some kind of brass band did not add its distinctive tones to the annual cycle of formal and informal events which made up their community's social calendar.
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42

Møllerløkken, Ole J., Nils Magerøy, Magne Bråtveit, Ola Lind, and Bente E. Moen. "Forte Fortissimo for Amateur Musicians: No Effect on Otoacoustic Emissions." Medical Problems of Performing Artists 28, no. 1 (March 1, 2013): 3–8. http://dx.doi.org/10.21091/mppa.2013.1002.

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Many amateur musicians are likely to be exposed to high sound levels during rehearsals. Measuring otoacoustic emissions (OAE) is an objective technique to assess hearing ability and can be used as an early predictor of hearing loss. This study aimed to record sound levels at an amateur brass band rehearsal and to examine the cochlear function of the musicians by evaluating distortion product (DP) OAE amplitudes before and after sound exposure. Twenty-four brass band musicians and 10 office workers were examined with personal noise measurements and DPOAE tests before and after a music rehearsal or one office workday, respectively. The sound levels in the brass band ranged from 92 to 100 dB(A), LaEQ 96 dB(A). However, the amateur brass band members had no change in DPOAEs after this exposure compared to pre-exposure levels and compared to office workers.
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43

Davis, Jim. "A Storm in the Land: Music of the 26th N.C. Regimental Band, CSA. The American Brass Quintet Brass Band. New World Records 80608-2, 2002./Cheer, Boys, Cheer! Music of the 26th N.C. Regimental Band, CSA. The American Brass Quintet Brass Band. New World Records 80652-2, 2006." Journal of the Society for American Music 8, no. 2 (May 2014): 267–70. http://dx.doi.org/10.1017/s1752196314000145.

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44

Johns, Donald, Arthur Bliss, Henri Lazarof, Jerzy Sapieyevski, Witold Lutoslawski, Philip Glass, Pavel Mihelcic, and Morgan Powell. "Eight Fanfares for Brass Ensemble." Notes 43, no. 2 (December 1986): 422. http://dx.doi.org/10.2307/897413.

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45

Sommer, Susan T., and Bruce Adolphe. "Triskelion [For] Brass Quintet (1990)." Notes 53, no. 1 (September 1996): 284. http://dx.doi.org/10.2307/900335.

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46

Bewley, John, and Mark J. Fasman. "Brass Bibliography: Sources on the History, Literature, Pedagogy, Performance and Acoustics of Brass Instruments." Notes 48, no. 4 (June 1992): 1309. http://dx.doi.org/10.2307/942153.

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47

Cipolla, Frank J. "The Yankee Brass Band: Music from Mid-Nineteenth Century America." American Music 3, no. 3 (1985): 363. http://dx.doi.org/10.2307/3051484.

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48

Logar, Engelbert. "Der slawische Anteil am Bestand des Blasmusikarchives der Universität für Musik und darstellende Kunst in Graz." Musicological Annual 51, no. 2 (June 17, 2015): 187–202. http://dx.doi.org/10.4312/mz.51.2.187-202.

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The article examines the Slavic share of sheet music for brass instruments in the archive of the University of Music and Performing Arts Graz, located in the research station in Oberschützen in the Austrain state of Burgenland. The archive material is comprised of 4805 numbered maps with works and compositions of 2072 different composers – 10,632 formaly defined works. It is intended for symphonic brass music, salon orchestra, string instruments and chambers ensembles and was collected during the 200 years of the performance practice of the institution. The focal point of the article is the south-Slavic region, although its share is relatively small compared to the Czech, Vienna or Hungarian region. Discussed are over 200 composers that were mainly working in the time between 1850 and 1940. Over 1500 compositions are in the form of manuscripts. The analysis of the temporal, spatial and formal layering of the material is followed by statistical data of the share of composers form Slovenia, Croatia, Bosnia and Herzegovina, Serbia and Bulgaria; incorporated in the overview is also the share of eastern and western Slavic countries.
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49

S, Sivasankar, and Alaguselvam A. "Beautiful Neduvangiyam also known as Nagasuram." International Research Journal of Tamil 3, no. 2 (March 30, 2021): 65–69. http://dx.doi.org/10.34256/irjt2129.

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The purpose of this study is to understand one of the earliest known non-brass double-reed instrument called Nagasuram (Nadaswaram). Our ancestors while defining Tamil music grammar in parallel focused on sound engineering, which helped them to invent new musical instruments. Sangam era alone saw more than 30 percussion and wind instruments. Among them, few instruments like Veenai, Urumi and Nagasuram are worth mentioning since their design techniques were known only to a handful of families. Their performance really stands out due to their versatile and adaptable nature to all genres of music. Music instrument, like any other scientific invention goes through the same process of trial and error before getting standardized for general use. Instruments with strong adherence to scientific and acoustic principles gain prominence among the rest, as they undergo minimal structural changes. Nagasuram (Nadaswaram) is one such instrument, which was passed on to us for generations. This instrument readily complies with acoustic principles such as sound impedance, Helmholtz resonance, wave theory etc. to get the characteristic of a loudest non-brass wind instrument.
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50

Mayhood, Erin. "Invenzione Concertata for Brass Quintet, and: Keep On Keepin' On [for] Brass Quintet, and: Fanfare for Brass Quintet, and: Entertainment-Sets (Chamber Music X) for Brass Quintet, and: Hymn for Brass: pour quintette de cuivres, and: Fanfare for 2 Trumpets, 2 Horns, and Trombone (review)." Notes 61, no. 3 (2005): 870–74. http://dx.doi.org/10.1353/not.2005.0024.

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