Dissertations / Theses: 'Music bands'

1

Kirtner, Ellen R. "Bands and Brands: The Relationship Between Bands and the Commercials They Soundtrack." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1376767931.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Behr, Adam. "Group identity : bands, rock and popular music." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/3051.

Full text

Abstract:

Since rock became the subject of academic study, its attendant ideology has been scrutinised and its mythical and Romantic components exposed. Largely absent from this account has been a thorough analysis of the phenomenon of the ‘band’. The role of individual acts and the wider contexts in which they worked has been discussed at the expense of an examination of an important form of music-making. This thesis seeks to address that gap. Using a mixture of literary research and ethnography, I present an overall picture of the band as a modus operandum, charting its evolution during the emergence of rock and presenting evidence that it has become a key means by which people enter and engage with the field of popular music. I suggest that debates about ‘authenticity’ in rock, in seeking to see through industry rhetoric have overlooked the way in which creativity in bands is closely connected to social interaction. My historical analysis brings to light the way in which the group- identified band has become embedded into popular music practice through the power of narratives.Two case studies, contextualised with archival material and interviews, form the basis for a model for collective creativity. By demonstrating how social action and narrative myth feed into one another, I argue that the group identity of a band is the core of the industrially mediated texts to which audiences respond. Our understanding of how authenticity is ascribed in popular music, and rock in particular, has paid too much attention to genre-based arguments and not enough to musical and social methods. I propose a way of revising this to take better account of rock as an actual practice.

APA, Harvard, Vancouver, ISO, and other styles

3

Chaffee, Christopher Lloyd. "Music as Advertising: The Story of the Armco Band." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1069350175.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Helbing, Rachel. "Women and Steel Bands in Trinidad." Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111087466.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

Hebert, David Gabriel. "Music competition, cooperation and community : an ethnography of a Japanese school band /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11402.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Houser, Russell John. "An examination of wind band transcriptions." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Williamson, Brad A. "A study of Ohio high school band directors' perceived preparation for teaching high school marching band through participation in a collegiate marching band, marching band technique classes, and methods courses." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243463233.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Hartz, Jason Michael. "The American community band history and development /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=232.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Galyen, Stephen Daniel. "Development of a structured method of mental practice and its effect on the performance of high school band students." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013520.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Theron, Susara Margaretha. "Die perserverance kersfeesorkes as verteenwoordigende voorbeeld van gemeenskasmusiek in die Wes-Kaap." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5134.

Full text

Abstract:

Thesis (MMus (Music))--University of Stellenbosch, 2010.
AFRIKAANSE OPSOMMING: Die Kersfeesorkeste is ‟n Christelike tradisie binne die Kleurling-gemeenskap van die Wes-Kaap wat dissipline en goeie waardes by lede van hierdie gemeenskap inboesem en musiek in voorheen benadeelde en minderbevoorregte sektore van die samelewing bevorder. Die geskiedenis en agtergrond van die Kersfeesorkeste is soortgelyk aan dié van die Kaapse Klopse en die Maleierkore, wat veral prominent na vore kom tydens die Kersfees- en Nuwejaarsfeestelikhede in die Kaap. Alhoewel hierdie drie groepe ‟n nou verbintenis tot mekaar het en dikwels deur die publiek saamgroepeer word, funksioneer hulle onafhanklik van mekaar en is daar beduidende verskille in kultuur, repertoire, kleredrag, organisatoriese struktuur en samestelling. Hierdie studie fokus op die Perseverance Kersfeesorkes en ondersoek dié orkes in sy vele fasette binne die raamwerk van wat in die musiekwetenskap deesdae “gemeenskapsmusiek” genoem word. Die kenmerke van die begrip “gemeenskapsmusiek”, soos dit in die laaste 15 jaar in ander lande geformuleer is, word aan die hand van die Perseverance Kersfeesorkes getoets om uit te vind of die Perseverance Kersfeesorkes as ‟n voorbeeld van gemeenskapsmusiek beskou kan word en, omgekeerd, of die begrip “gemeenskapsmusiek” aan die hand van hierdie geval in alle opsigte gepas is of dalk aangepas moet word.
ENGLISH ABSTRACT: Christmas Bands are a Christian tradition within the Coloured community of the Western Cape that instils discipline and values amongst members of this community and promotes music within previously disadvantaged and under-privileged sectors of society. The history and background of the Christmas Bands is similar to that of the Cape Minstrels and Malay Choirs, who are very prominent during the Christmas and New Year festivities in the Cape. Although these three groups have a close connection they function independently of each other. There are significant differences amongst these groups in respect of culture, repertoire, uniform, organisational structure and composition. This study focuses on the Perseverance Christmas Band and examines this band in all its different facets within the framework of what, in current musicological terminology, is called “community music”. The characteristics of the concept of community music, as they have been formulated in other countries over the last 15 years, are tested against the Perseverance Christmas Band to determine whether the Perseverance Christmas Band should be understood as a example of community music and, vice versa, whether the concept of community music itself is valid when measured against the Perseverance Christmas Band or whether it needs adjustment or expansion.

APA, Harvard, Vancouver, ISO, and other styles

13

Spencer, William David 1952. "An Attitude Assessment of Amateur Musicians in Adult Community Bands." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277924/.

Full text

Abstract:

The purpose of this study was to ascertain certain factors which lead adults to participate in community band activity. This study attempted to answer the following questions: 1. What are the factors of rewards for community band participants based on the responses of a selected sample to validated attitude statements? 2. What are the relationships that might exist between certain demographic characteristics of the sample such as age, gender, education, occupation, musical training, geographic region (independent variables) and factors of participation (dependent variables) determined by principal components analysis? 3. What are the relationships that might exist between the findings of this study using member generated attitude statements and the findings of other attitude studies using researcher generated attitude statements? A 179-item survey was developed from an initital pool of 839 attitude statements after two pilot studies and an expert review. A randomly selected, stratified cluster sample of 74 organizational members of the Association of Concert Bands participated in the study. The average number of band members present during the survey process was 35. The average number of surveys returned per band was 23.66 for a return rate of 65.9% One thousand seven hundred twenty five individuals participated in the study. Frequency distributions of responses revealed the 36-50 age group to be the most represented (33%) followed closely by the 51-65 age group (27.8%). Males outnumbered females (57.5% to 42.3%). Over 80% of respondents were married. Almost 75% of respondents were college graduates. Over 60% had performed in college ensembles. Over half (55.4%) of respondents were either employed in the professional trades or white collar occupations. Almost 10% considered themselves professional musicians. Principal components analysis of the 179 items yielded six main factors of participation which were labeled Intrinsic Motivators, Organizational Motivators, Membership Standards, Repertoire/Conductor, Rehearsals/Performances, and Quality. Further analysis of Intrinsic Motivators yielded five second level components which were labeled Self-Growth, Musical Growth, Community Pride, Social Rewards, and Conductor. Second level components extracted from Organizational Motivators were labeled Attendance/Practice, Community Support, and Music Selection. Using t-tests and ANOVA, many significant relationships were found between groups on the six main factors and eight sub-factors (independent variables) with the demographic variables (dependent variables), especially age, gender, occupation, level of ensemble experience, past geographic region, present geographic region, and community size.

APA, Harvard, Vancouver, ISO, and other styles

14

Warfield, Duane Allen. "Perceptions of student section leaders in selected collegiate marching bands." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3608799.

Full text

Abstract:

The purpose of this study was to examine student section leaders and their leadership practices in collegiate marching band organizations. Through the use of the Student Leadership Practices Inventory (SLPI), the study surveyed members and staff of five collegiate marching bands: band directors, assistant band directors, graduate teaching assistants, student leaders, and student followers (N=447). In addition to the SLPI, a Marching Band Leadership Practices Questionnaire was completed by the marching band directors to gain insight about each marching band organization used in this study and to determine whether the marching bands practiced distributed leadership.

The SLPI assessment tool measured five leadership practices to identify exceptional student leaders through a 360-degree feedback survey process: Challenge the Process, Inspire a Shared Vision, Enable Others to Act, Model the Way, and Encourage the Heart. Increased understanding of student leaders and the five leadership practices in marching band could inform the organization's process of selecting leaders.

Student follower evaluations indicated a significant difference among the five practices, showing that Enable Others to Act was the least effective practice and Model the Way was the most effective practice for student leaders. Independent Samples t-tests of Student Leader vs. Student Follower SLPI scores showed that student leaders often perceived themselves displaying higher levels of leadership practice than did their student followers. Results indicated a significant difference for student follower characteristics and perceptions of student leaders: gender, music major status, and years of participation in a collegiate marching band. Results from the Marching Band Leadership Practices Questionnaire indicated that the student leaders in all five universities interact together with other leaders in a marching band, which is an important feature of distributed leadership.

APA, Harvard, Vancouver, ISO, and other styles

15

Kessler, Kevin Wayne. ""We are the pride!" : a history of the South Dakota State University marching band from 1886 to 2015." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5956.

Full text

Abstract:

Evidence of bands at South Dakota State University can be found as early as 1886, only the second year of classes at the Land-Grant institution. From this grew what is known today as the “Pride of the Dakotas Marching Band.” The band was led by six different men over the first twenty-one years of its existence. A highlight of these early years was a trip to the 1904 World’s Fair in St. Louis, Missouri, under the direction of John Parmalee Mann. His successor, Francis J. Haynes, penned the music to the school’s alma mater, the Yellow and the Blue. In 1911, Carl “Christy” Christensen became Director of Bands, and did not relinquish the title for forty-three years. The highlight of “Christy’s” illustrious career was a trip to Winnipeg, Manitoba, Canada in 1939, in which the band performed for King George VI and Queen Consort Elizabeth. The band has carried on a rich tradition of high-profile performances. In 1962, the band, under the direction of Dr. Warren Hatfield, began a relationship with the National Football League’s Minnesota Vikings. For over twenty years, the band performed at their games, and many of these performances were broadcast to a national television audience. Under the leadership of John Colson and Gene Pollart, the band continued to grow and become known for their high-energy, entertaining, and skillful performances. Because of this reputation, the band, under the direction of Dr. Darwin Walker, earned an invitation to the 1981 Inaugural Parade of President Ronald Reagan. James McKinney led the band to the 1997 Inaugural Parade of President William Clinton, the 2000 Fourth of July Parade in Washington, D.C., and the 2003 and 2008 Tournament of Rose Parades. Since McKinney’s retirement, Eric Peterson, James Coull, and Kevin Kessler have each served as the director of the Pride. This document chronicles the history of the band from its origins to 2015.

APA, Harvard, Vancouver, ISO, and other styles

16

Jones, Amanda L. "Revisiting the early format of the big band: So you want to be a band leader?" Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1315.

Full text

Abstract:

The aims of this research are to set up a large contemporary ensemble that plays varied repertoire in different performance contexts and may generate at the same time, a vehicle for my composition and arranging. Involved within the research are strategies to increase the musical and performance skills of the musicians, to break down barriers between the audience and performers, to look at ways to include I promote/ increase/ audience participation, to work with the community, and find opportunities for paid employment for big band situations. Aspects of New Orleans brass bands, the Duke Ellington's and Count Basie's Orchestra's will be investigated to determine if and how the concepts of their styles can be adapted to my own music to create something valid for today's situation in a city like Perth, Western Australia.

APA, Harvard, Vancouver, ISO, and other styles

17

Keough, Sara Beth. "The Geography of Community Bands in Virginia." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/32308.

Full text

Abstract:

In the first half of the twentieth century in Virginia, the town band was a popular concert venue and sometimes a symbol of community pride. Originally, community bands faced few competitors for entertainment popularity, but the advent of movie theaters in the 1930â s, and eventually television in the 1950â s, challenged the bandâ s former role. Attendance decreased at band concerts and the community space that bands had occupied was allotted for other uses. Despite this decline, the town band survived. Virginia is home to at least 34 community bands today. This study presents a geographic analysis of present day community bands in Virginia. I visited 25 active bands and administered a twenty-five question, self-designed survey to 900 band members (98% response rate). I also personally interviewed conductors and band presidents. Members reported demographic information and the distances and time that they traveled. I also explored how band members perceive their role in the community based on their participation in the community band. I then examined the variation of responses across the state. Results show that bands in Virginia consist primarily of educated, retired individuals with previous musical experience. While traveling the same distance, band members spend more time traveling in regions with large metropolitan areas than in rural regions. Finally, although band members in rural areas received higher sense of community scores than those in metropolitan areas, the scores for both areas were encouragingly high. The results indicate that although regional variations exist for the variables of travel and sense of community, community music in Virginia has a solid rate of participation, and community bands will continue to serve their respective regions in the state.
Master of Science

APA, Harvard, Vancouver, ISO, and other styles

18

Montemayor, Mark. "Rehearsal achievement in high school bands and its relationship to performance quality, selected rehearsal procedures, and evaluations of teaching effectiveness /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11301.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

DeLong, D. Phillip. "Observed eye contact between selected students and teacher in the music making process." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/de%5Flong%5Fphillip/index.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Klonowski, Olivia. "Secondary Music Teachers' Perspectives on the Inclusion of Rock Bands in High School Music Classrooms." Youngstown State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1619793991159909.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Cohen, Richard Scott. "The musical society community bands of Valencia, Spain a global study of their administration, instrumentation, repertoire, and performance activities /." Tutzing : Schneider, 2002. http://catalog.hathitrust.org/api/volumes/oclc/49229037.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Younger, Kathryn Gail. "An observational analysis of instructional effectiveness in intermediate level band and orchestra rehearsals /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

King, Tyler C. "Factors influencing adults' participation in community bands of Central Ohio." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243881978.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Pierson, Michael Eldon. "Effects of mental and physical practice on 6th grade beginning band instrumentalists' performance accuracy." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-09122009-040243/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Casey, Patrick Franklin. "A status study of nonselective concert bands at selected colleges and universities /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487844948074089.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

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/.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

28

Stark, Alicia. "Virtual pop : gender, ethnicity, and identity in virtual bands and vocaloid." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/110112/.

Full text

Abstract:

Virtual bands have been present in popular culture for decades, and they have become the topic of increased scholarly interest over the past few years. Despite this new work, however, there remains a need for more indepth critical studies into gender and ethnicity in virtual phenomena, as this approach promises to open up new areas of enquiry. Focussing on questions of gender and ethnicity, my thesis will investigate the mechanics through which identity is constructed in animated, puppet, and hologram virtual band characters. My thesis will draw on a range of empirical, theoretical, and ethnographic approaches in order to analyse how and to what extent virtual band characters are created and disseminated by those in the industry, on the one hand, and by fans, on the other. In particular, I consider this question through the concepts of agency (perceived and attributed), authorship, and authenticity, and in relation to the notion of suspension of disbelief, examining ways in which animation affords greater potential for forms of ‘layered awareness.’ Following a historical overview of virtual bands, and a critical appraisal of relevant theoretical perspectives on this topic, the thesis moves to a close reading of two case studies that reinforce and subvert gender and ethnic stereotypes commonly found in popular culture: Gorillaz and Vocaloid. These examples present different aspects of identity construction in virtual media, the former apparently led by the band’s creators, the other by its fans. Within Gorillaz, my discussion centres around the female guitarist Noodle, who, I will argue, is a modern-day Orientalist construction. By contrast, the chapters on Vocaloid draw on fan studies techniques to show that Vocaloid’s fan base contains a large, unexpected demographic, and that part of the fans’ dedication stems from their confirmed expectations of gender and ethnic identity in the Vocaloid characters.

APA, Harvard, Vancouver, ISO, and other styles

29

Bogdanovich, Danijela. "Men doing bands : making, shaping and performing masculinities through popular music." Thesis, University of Salford, 2009. http://usir.salford.ac.uk/26583/.

Full text

Abstract:

Informed by the interdisciplinarity inherent in popular music studies, the thesis relies on qualitative research methods such as participant observation and semistructured interview to examine popular music masculinities. Methodologically, it is underpinned by a sociological understanding of music as practice as well as a process of enculturation, permeated by manifold musical and identity forming activities. Through an examination of a range of music settings such as those of "the band", live performance and online presence, the thesis foregrounds the multiplicity of "everyday" musical masculinities thus shifting the focus away from the most visible, popularised and the spectacular masculine types. The key themes addressed by ethnographic and participatory inquiry include: gender acculturating activities such as listening and collecting of musical knowledge and artefacts, and socialising in popular music spaces; gendering through musical practices inherent within a setting of the band; performing live and authenticating masculinities through series of verbal, visual and musical strategies; and embracing novel representational tools such as social networking sites to increase the band's visibility and represent the male body. By engaging with music as practice and music in context of everyday life, and by understanding gender as constituted through a series of culturally and musically informed activities, the thesis demonstrates that a wide range of masculine gender identities comprise creative and cultural dynamics within bands. Finally, the thesis maintains the dialogue with the existing writing on gender within the field of popular music studies, extending the arguments about multiplicity of gender positions and implications of gendering activities. Significantly, it challenges the understanding of popular music masculinity as a monolithic entity, providing an opening for further dialogue between all musicians, hoping to result in enhanced understanding of practical and ideological challenges faced by both men and women involved in the making and performance of music.

APA, Harvard, Vancouver, ISO, and other styles

30

Howard, Keith David. "Bands, songs, and Shamanistic rituals : traditional music on a Korean island." Thesis, Queen's University Belfast, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297303.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Brown, Maya Olivia. "EMPOWERMENT THROUGH ACKNOWLEDGEMENT:CONTEMPORARY STRING BANDS AND THE BLACK ROOTS MUSIC REVIVAL." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1532894230322707.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Steele, Natalie. "The relationship between collegiate band members' preferences of teacher interpersonal behavior and perceived self-efficacy." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9826.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Garner, Charles. "Fletcher Henderson, king of swing: a summary of his career, his music and his influences /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10257925.

Full text

Abstract:

Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Harold Abeles. Dissertation Committee: Lenore Pogonowski. Discography: p. 228-230. Includes bibliographical references: (leaves 211-217).

APA, Harvard, Vancouver, ISO, and other styles

34

Scheurer, John J. "The Missouri State High School Activities Association and its music program : knowledge and attitudes of Missouri superintendents, principals, activities directors, and music educators /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841181.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

MOSS, JAMES C. "BRITISH MILITARY BAND JOURNALS FROM 1845 THROUGH 1900: AN INVESTIGATION OF INSTRUMENTATION AND CONTENT WITH AN EMPHASIS ON BOOSÉ'S MILITARY JOURNAL." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006791413.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Marschalt, Ellen-Christina. "Blasmusik in Westfalen : Studien zur Entwicklung, Struktur und Pflege der zivilen Blasorchester (Harmoniemusik) in Westfalen." Hamburg Verl. für Musikbücher, Wagner, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=016330417&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Tracz, Frank Carl. "Marching band techniques in the music teacher education curriculum : a survey of high school band director needs and current university offerings and practices /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250094765.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Hyder, Rehan. "Indie bands and Asian identity : negotiating ethnicity in the UK music industry." Thesis, Staffordshire University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285304.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Held, Jeffrey M. "Ethos for individual performance development: descriptions of music majors in college bands." Thesis, Boston University, 2013. https://hdl.handle.net/2144/12778.

Full text

Abstract:

Thesis (D.M.A.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
The purposes of this study were to describe the ethos of individual performance development (EIPD) for music majors in selected American colleges and universities who played wind and percussion instruments, to compare the EIPD between small and large academic institutions, and to compare the EIPD between students who projected that their primary professional activity would be performing on their instrument and other music majors. EIPD was a researcher-designed multivariate construct, adapted from a variable set for an individual learning ethos at institutions of higher education (J0rgensen, 2002). EIPD included the categories ofPractice Quantity, Self-Regulated Learning Characteristics, Motivation Factors, Ancillary Music Activities, and Non-Music Effects. EIPD variables were measured with student ratings on a researcher-designed questionnaire, which was distributed to music majors enrolled in concert wind bands at 31 American colleges/universities. There were 291 participants. Data were first analyzed to determine means and other descriptive data for the variables ofEIPD. Second, a binomial logistic regression analysis compared the variables ofEIPD between small (<100 music majors) and large (>200 music majors) institutions. Even though large institutions had higher percentages of bachelor of music degree-seeking students and students who believed that achievement on their primary instrument was more important than any other college learning, only 5 out of 44 variables returned significant differences. Also, music majors at small institutions felt a stronger presence from friendly encouragement than they felt from peer competition [t(52) = - 2.45, p = .02]. As a follow-up to these results, an alternate binomial logistic regression was run to see if the students who projected that their careers would primarily be in instrumental performance exhibited different results than the other music majors. Only 4 out of 44 variables returned significant differences, including 3 motivation variables that were more likely to occur in the "professional instrumental performance" group.

APA, Harvard, Vancouver, ISO, and other styles

40

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

41

Taylor, John Wallace. "The effect of conductor sensitization on ensemble response to articulation styles in high school bands /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487672631599333.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

43

Warfield, Duane Allen. "Perceptions of student section leaders in selected collegiate marching bands." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4974.

Full text

Abstract:

The purpose of this study was to examine student section leaders and their leadership practices in collegiate marching band organizations. Through the use of the Student Leadership Practices Inventory (SLPI), the study surveyed members and staff of five collegiate marching bands: band directors, assistant band directors, graduate teaching assistants, student leaders, and student followers (N=447). In addition to the SLPI, a Marching Band Leadership Practices Questionnaire was completed by the marching band directors to gain insight about each marching band organization used in this study and to determine whether the marching bands practiced distributed leadership. The SLPI assessment tool measured five leadership practices to identify exceptional student leaders through a 360-degree feedback survey process: Challenge the Process, Inspire a Shared Vision, Enable Others to Act, Model the Way, and Encourage the Heart. Increased understanding of student leaders and the five leadership practices in marching band could inform the organization's process of selecting leaders. Student follower evaluations indicated a significant difference among the five practices, showing that Enable Others to Act was the least effective practice and Model the Way was the most effective practice for student leaders. Independent Samples t-tests of Student Leader vs. Student Follower SLPI scores showed that student leaders often perceived themselves displaying higher levels of leadership practice than did their student followers. Results indicated a significant difference for student follower characteristics and perceptions of student leaders: gender, music major status, and years of participation in a collegiate marching band. Results from the Marching Band Leadership Practices Questionnaire indicated that the student leaders in all five universities interact together with other leaders in a marching band, which is an important feature of distributed leadership.

APA, Harvard, Vancouver, ISO, and other styles

44

Allaback, Christina L. "Theater of jambands : performance of resistance /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2009. http://hdl.handle.net/1794/10219.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Hanna, Scott Stewart. "J'ai été au bal : Cajun music and the wind band in the late twentieth century /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Sartori, Vilmar 1963. "Banda Ítalo-Brasileira/Carlos Gomes : história e memória de uma corporação musical centenária na cidade de Campinas." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284500.

Full text

Abstract:

Orientador: Lenita Waldige Mendes Nogueira
Acompanha 01 CD-ROM
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T08:46:32Z (GMT). No. of bitstreams: 1 Sartori_Vilmar_M.pdf: 8053058 bytes, checksum: 82b94ddb3b284aed3d88abb22f7aa0d8 (MD5) Previous issue date: 2013
Resumo: Este trabalho busca recriar a história da Banda Ítalo-Brasileira (atual Carlos Gomes), fundada no final do século XIX por imigrantes italianos na cidade de Campinas, SP, e ainda em atividade. A pesquisa foi baseada em documentação preservada em vários acervos históricos, sendo principal deles o da própria banda. A partir da análise deste material verificou-se de que maneira a Banda Ítalo-Brasileira/Carlos Gomes foi assimilando as profundas transformações pelas quais passou a sociedade brasileira. Novos hábitos e costumes forçaram a banda a buscar um público que já não a tem como objeto de fruição musical e ela se vê pressionada a mudar o repertório e os espaços de apresentação, abandonando o tradicional coreto da praça. Esta pesquisa revelou dois modelos distintos de banda musical, um baseado nas práticas musicais do século XIX, que se estende aproximadamente até 1950, o período em que era nomeada Ítalo-Brasileira, e outro modelo mais afinado com os séculos XX/XXI, representado pela atual Banda Carlos Gomes
Abstract: This paper aims to recreate the history of the former Italian-Brazilian Band, currently named Carlos Gomes, a wind band founded in the late nineteenth century by Italian immigrants in the city of Campinas, São Paulo, that's still active. The research was based on documentation from several historical archives, especially the band's own historical records. The material's analysis showed how this musical group has assimilated and reflected the deep changes the Brazilian society has undergone throughout this period. Social and cultural changes, with new customs and cultural patterns led the band to seek a new audience and to change its own repertoire and presentation venues, abandoning the traditional city parks bandstands. The research has shown two distinct models of wind band, the first one based on the musical practices and styles of the late nineteenth century that endured until the 1950s, period in which it was called Italian-Brazilian Band, and the second one, more in tune with the twentieth century and the contemporary musical tendencies, represented by the current Carlos Gomes Band
Mestrado
Fundamentos Teoricos
Mestre em Música

APA, Harvard, Vancouver, ISO, and other styles

48

Gould, Jackson S. "The Changing Business of Bands: How New Groups Start, Grow, and Succeed Using Social Media." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340989959.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Ounsley, Karen Esme. "Bands and orchestras in the major northern seaside resorts of England, 1865-1911 : a socio-cultural history." Thesis, University of Hull, 2009. http://hydra.hull.ac.uk/resources/hull:5116.

Full text

Abstract:

This thesis investigates the social and cultural history of the seaside bands in Bridlington, Scarborough, Blackpool, Southport, and Douglas (Isle of Man), from 1865, the start of the Bridlington era, to 1911, the end of the long Victorian period. It pays particular attention to the Bridlington Quay Parade Band as the starting point of the thesis. The bands will be looked at in terms of repertoire, personnel, instruments, function, management, and their relationship with the local councils, management boards and owners. Extensive discussion of the Bridlington band will centre on the social, economic and management aspects of the Parade band, which taken in conjunction with other bands will give new insights into the barely researched world of the late Victorian and Edwardian seaside band. To facilitate the research, archives and libraries in the relevant seaside resorts have been visited. Primary sources have been rich in some categories, e.g. local newspapers, and limited in others, e.g. programmes and local records. The main sources for this enquiry have been the newspapers of the period. They frequently reported on council meetings, and where local records have survived generally gave much more detail than the official council minutes. They have provided a wealth of information on the conductors, the bands, how the visitors and residents regarded the bands, and the importance of the bands and conductors to the seaside resorts. With the exception of the Scarborough Spa, very few programmes have survived for the period 1865-1900. Local records for this period are also scarce. Primary sources for the period 1900-1911 are more abundant, with some programmes and local records generally surviving. The available programmes have provided information on the bands and repertoire, whereas local records, for example council minutes, do not often go into detail and so information is patchy. It has also been possible to locate primary sources through Internet searches; this has resulted in original pictures of bands and conductors, several programmes, and contemporary picture postcards of the selected seaside resorts and has enabled the assembly of a personal archive.

APA, Harvard, Vancouver, ISO, and other styles

50

King, Ronda E. "The quality and technical difficulty of repertoire performed by non-auditioned, small college bands and the criteria considered in the selection of this literature." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261058939.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Music bands'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles