Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md “One for all, all for the Música Nova” – a case study Abstract This communication explored the process of teaching music in the community bands in Portugal, through qualitative and quantitative methods. It is part of a case study conducted in Banda dos Bombeiros Voluntários de Ílhavo – Música Nova and it is part of one project in Ethnomusicology Institute – Center for Music and Dance at the University of Aveiro. 1. Introduction The Wind Bands in Portugal are secular institutions, responsible for the initial training of many wind players. The disinterest musicological studies revealed by this reality is explained with the persistence of an essentialist and cultural paradigm that excludes practices situated between academic and popular domains. As a result of my master’s dissertation, the communication explored the process of teaching music in the community wind bands in Portugal, through qualitative and quantitative methods. It is a case study conducted in Banda dos Bombeiros Voluntários de Ílhavo – Música Nova and it is part of one project in Ethnomusicology Institute – Center for Music and Dance at the University of Aveiro, fitting a larger study that comprises Philharmonic activity in the municipality of Ílhavo. My contribution is limited to the teaching and learning of music in the wind bands and to the performative activity of Banda dos Bombeiros Voluntários de Ílhavo – Música Nova throughout 2012, trying to understand the impact of the musical education in the wind bands in the musical life in Portugal, particularly in the training of professional musicians. The main goals of the dissertation were to characterize and describe the development of the teaching process of the community wind bands; understand how the wind bands contribute to the musical education of professional musicians; to contribute to knowledge of the role of the wind bands in the Portuguese musical life in general and, in particular, training of musicians in Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md Portugal. The more specific goals were to understand the route of the Banda dos Bombeiros Voluntários de Ílhavo – Música Nova; identify the key performative contexts of the band in study in 2012 and to understand the contexts of preparation and presentation of the band's repertoire and defining specific teaching-learning processes. The study of the dissertation departed from two types of questions: the ones related to the case study and the ones referring to a national level of the Philharmonic movement. So, these questions are the following: what is the Banda dos Bombeiros Voluntários de Ílhavo – Música Nova? What musical activities are developed? In which social contexts the band participates? What is the impact of wind bands in the initial formation of wind instrumentalists who teach in conservatories in Portugal? How is education provided by these bands? What kind of skills are valued? In what way conservatories and bands complement themselves in the training of musicians? In order to better capture the complexity of the process under analysis, I proposed the integration of qualitative and quantitative methods. Whereas the reality that I set out to study is dynamic and contingent, I have conducted a study focusing on the case of Banda dos Bombeiros Voluntários de Ílhavo – Música Nova. It consisted on a literature search, in order to collect information about the band in local journals and monographs; archival research on other assets (including the books of minutes, scores and collection of photographs, among other documentation), and the joint exploration of methods of extensive research – conducting an inquiry among teachers of wind and percussion instruments of conservatories and music schools and 14 structured interviews with some of these teachers – and fieldwork, with participant observation throughout the year 2012, integrating the Banda dos Bombeiros Voluntários de Ílhavo – Música Nova as a flutist in the classes, rehearsals and concerts, learning a new instrument. I also carried out an ethnography of a performance of the institution. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md 2. Wind Band Movement in Portugal 2.1. General Framework The Portuguese wind bands are musical groups constituted mainly by wind and percussion instruments. Originating either in military bands or philharmonic societies that were imported from England, they play an associative and recreational role, besides being important musical centres of learning, available to all social classes (Lameiro 2010, p . 108). In the first half of the twentieth century, the bands survived by the performances in local festivities and religious events that occurred in the summer, plus some off contracts with institutions such as the National Foundation for joy at Work (FNAT). From the survey realized, I found that since the late twentieth century, except for conductor, most of the musicians that integrate the wind bands exercise professions outside music, and more recently has begun to be musicians who choose for a professional career in music and they do not depend, however, from the income they get from the bands. Predominantly male for decades, at the beginning of XXI century the bands are mixed organizations, existing about seven hundred (Ibid.). Also at the level of the instruments that comprise these institutions, it is observed that the diversity that characterized the constitutions of instrumental bands throughout the nineteenth and twentieth centuries, has to give way to a certain homogeneity to the instrumental level (Granjo 2010, p. 110). Similarly, it is observed that the number of musicians that constitute the band varied over time, while in the early twentieth century would be between twenty-five and eighty elements (ibid.). The wind bands can have an independent existence or be integrated into private companies, in this case developing activities as diverse as sports, philanthropy, theater or handcraft (Granjo 2005, p. 12). In both cases, they are organizations that comprise an administrative and an artistic offices. The administrative office organizes concerts, signs agreements for the band, is in charge of managing the financial part of the association and to ensure dissemination of the same, among other functions, in some situations asking the opinion of the conductor (Granjo 2005, p.12.). The study conducted Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md in 2005 by André Granjo under his dissertation on the type of repertoire performed by the bands, revealed that the money needed for these institutions mainly comes from four sources: annual quotas of its members; payment to the band for their activities (religious festivals, contracts, fundraising campaigns, concert tickets, etc.); funds from state organizations such as local Authorities, Secretary of State for Culture, European Community institutions, Portuguese Youth Institute, etc. and private donations (Granjo 2005, p. 13). The artistic and musical office of the bands is under the authority of the conductor or ‘mestre’, whose functions are the selection, acquisition, arrangement and transcription of the repertoire, conducting rehearsals and concerts, monitoring the ‘arruadas’ (where the bands march on the streets) and is also responsible for teaching music in the institution, supported by the ‘contramestre’, one musician chosen from among the members of the band (Lameiro 2010, p. 111). The bands present themselves to the public with an uniform, with hat and, in some cases, insignia (Granjo 2005, p. 17). The bands perform most often in outdoor spaces, the environment for which they are oriented due to its instrumental constitution (Lameiro 2010, p. 111). However, they are increasingly called upon to play in concert halls and auditoriums, often integrated into local or national celebrations or festivities of the band and competitions and meetings of bands (Lameiro 2010, p. 111). In some towns they are often called to give musical accompaniment to bullfighting (Ibid.). The repertoire performed by the bands is varied, depending on the context in which they will play. It is, however, mainly composed of marches often made by the conductors. They also play rhapsodies, songs and openings, specific to this constitution or arrangements of classical music, jazz, light music or pop-rock (Lameiro 2010, p. 111). According to Paulo Lameiro, stand out among the Portuguese composers who wrote for bands the following: Sousa Morais, Sílvio Pleno, Duarte Pestana, Miguel de Oliveira, Santos Leite, Ilídio Costa, Amílcar Morais, Jorge Salgueiro, Carlos Marques, Afonso Alves, Valdemar Sequeira, Samuel Pascoal, Lino Guerreiro e Luís Cardoso (Ibid.). In most of their performances, the audience does not have to pay for it; however, the organizing entity that hires the band to concerts and religious Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md festivals pays the band a certain amount, or previously agreed, or, in case of any changes in the program, decided on the day of the performance (Granjo 2005, p. 17). 2.2. Music Education in the Wind Bands The Portuguese wind bands are institutions that promote the integration of new elements. To this end, they develop formal or informal music education either on specific lessons and music theory musical instrument, or during the rehearsals. However, the philharmonic are also "schools for life", spreading several values: "in fact, the philharmonic bands were or are authentic Schools of the People, because they allow and enable young people and adults to learn to be friendlier, more respectful and supportive "(Catana 2003, p. 12). The bands implement a process of teaching and learning that is particular to them, distinguished from the other institutions of music education in Portugal (conservatories and music schools). These singularities are evident in the musical skills of the musicians that integrate this universe. Between apprentices and music professionals, especially in regard to wind instruments, was often referred by many musicians that the musicians who had or have on their route a performative experience in wind bands learn better the reading at first sight. According to these opinions, the musicians who started to learn in music bands have a superior ease of their peers who do not have that experience on reading. In order to investigate this aspect, the present study focused on the teaching-learning process in the context of wind bands, searching on dissertations and master's theses existing in Portugal. According to Maria João Vasconcelos, cited in the study conducted by Mauricio Soares da Costa: "Currently, in the universe of the Bands, ‘coexist various organizational forms of schools of music, from traditional teaching model to more modern ones. However, the main objective is always the same: prepare musicians as soon as possible to join the band as active elements " (Vasconcelos 2004, cited in Costa 2009, p 31). Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md In the above quotation, Vasconcelos distinguishes two models of teaching: one that she designates as "traditional" and another that includes the "newer" models. In his perspective, the "traditional model" refers to the type of education practiced until the 1970s that is characterized by having only one responsible for teaching music theory and instruments, usually the conductor or ‘contramestre’ (Costa 2009, p. 31). In this model the learner began with classes in music theory, from textbooks of Artur Fão and Freitas Gazul, and only after reaching a certain lesson was routed to an instrument, according to the needs and possibilities of the band. After learning a few notes on the instrument, the learner began attending rehearsals and just when they were considered fit by the conductor, they would integrate the performances of the band (Ibid.). In a later study conducted by Mauricio Costa there is a third teaching model, designated by the author as "transition model" (Costa, 2009, p. 32). This model is observable since the 1980s and is characterized as follows: the conductor guides the lessons of solfeggio (in the aforementioned manner, according to the books Fraitas Gazul and Artur Fão), but gives the instrument teaching to monitors chosen among the musicians (ibid.). Also according to Costa, the "current method", patent since 1990, approaches the method used in conservatories and other schools of specialized music education (Costa 2009, p. 33). Despite this attempt to systematize by decades of different teaching methods, it must be emphasized that it is not a tight temporal division, since it is chosen the method that best suits each band, contributing various internal factors such as the education of the conductor, the musicians and the administrative office itself, beyond the financial conditions of the band. Once the wind bands unreservedly accept any applicants, the initial training can go from one to three years, depending on the capabilities of each musician (Bessa, 2009, p. 28). The music schools of the bands are of great importance, since they are, for some people, the only music school in their region. According to Rui Bessa, the bands began to specialize the instrument teachers from their schools, improving the quality of the musicians and hastening the learning of the instruments. Thus, the bands keep their schools just to the repertoire to perform, sending their students to the academies and Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md conservatories (Bessa 2009). In turn, the opening of higher courses of music in Universities and Colleges of various Polytechnics, came to provide new specializations within music, making the quality of teaching and musicians in the bands to rise (Bessa 2009; Lameiro 2010). 2.3. Impact of the Wind Bands on the Conservatories and Music Schools in Portugal Besides the literature search it was conducted fieldwork, and part of this work consisted in conducting six interviews, and a questionnaire applied to teachers of wind instruments and percussion in schools that have a curriculum approved by the Portuguese Ministry of Education, seeking to answer the following question: what is the impact of bands specializing in music education in Portugal? Regarding the interviews, to six teachers of wind instruments from the Music Conservatory of Coimbra, the questions I posed focused on two main topics: 1) whether teachers of wind instruments who currently teach in conservatories began their learning in the context of the wind bands and 2) to know the importance of the bands in the initial training of candidates for wind instruments. Of the six respondent (one clarinet, two saxophones, one bassoon, one of flute and one trumpet), five started learning music in brass bands. The only one who did not start in a band was the flute teacher. All teachers interviewed stressed the differences between students that start in bands and the rest that compete for conservatories and music schools. According to them, the students who come from a wind band "develop" faster, since they already have some bases of the instrument to which they compete for (inter. Papel, 2012). After conducting these interviews I decided to broaden the scope of my study to a wider range of teachers in order to know if in other parts of the country, the wind bands also had a similar impact on the training of musicians. I prepared a short inquiry which questioned regarding the institution where they had initial training. I started by doing a search along the extinct Regional Offices of Education (North, Centre, Lisbon and Tagus Valley, Alentejo, Algarve, Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md Azores and Madeira), of the music schools previously stated. Due to this fact, I use the term region to divide the different parts of the country. Then I sent by email and, in some cases, delivered the inquiry in person. In the schools of the Central Region, the implementation period was part of the first semester (March to July) of the year 2012, and the remaining regions was October 2012 to May 2013. Pic. 1: Regions of Portugal. From the two hundred and nine wind and percussion teachers in the Central Region, answered me one hundred and twenty-one. Of these, only three never had contact with any wind band. The initial training of teachers is diverse and may have been performed in bands, in official music schools or others, or with family; however, about eighty-five of the respondents started learning music in bands, keeping connected to them only fifty-eight. The Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md remaining, or are no longer linked to philharmonic bands (forty), or just sometimes (twenty). With regard to their students, teachers who have fewer students in the bands are oboe and bassoon, and those who have more students are clarinet, saxophone and trumpet. Pic. 2: Initial Music Education in the Center region. Pic. 3: Number of teachers that mantain any contact to the Wind Bands, in the Center region. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md After the center region, I went on to the other regions (North, Lisbon and Tagus Valley, Alentejo, Algarve, Azores and Madeira). Of the eight hundred and seventy-five teachers of these regions (four hundred in the Northern region, two hundred and seventy six from Lisbon and Tagus Valley, sixty from Alentejo, seventy-four of Algarve, thirty-eight in Azores and twenty-seven in Madeira), responded forty-eight of the Northern region, twenty six of the region of Lisbon and Tagus Valley and eleven teachers from Azores, making a total of eighty-five respondents, and there are teachers who teach in more than one school, being only counted once. Regarding to the training of teachers in these regions, fifty three began their musical education in a wind band. Only five have never been linked to any band. Remain in the wind bands thirty-seven teachers, fourteen only occasionally and the remaining twenty-nine no longer have connection to these groups. The teachers that have fewer students in the bands are the oboe and horn, and the ones with more students are the clarinet and saxophone. Pic. 4: Initial Music Education in the other regions. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md Pic. 5: Number of teachers that mantain any contact to the Wind Bands, in the other regions. Pic. 6: Number of the answers to the inquiry. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md 3. “One for all, All for the Música Nova”: the Banda dos Bombeiros Voluntários de Ilhavo – Música Nova Pic. 7: Banda dos Bombeiros Voluntários de Ílhavo – Música Nova in 2011. The band that was studied is part of the county of Ílhavo, district of Aveiro, in the Center region of Portugal. Pic. 8: District of Aveiro, Portugal. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md The band in study is an association of musicians and non-musicians, in which the first do not pay anything and the second pay an annual fee, of ten euros. In the band there are four distinct governing bodies: the General Assembly, which meets once or twice annually; the Administrative Board, which meets monthly and when necessary; the Audit Committee and the Artistic Office. Not all members of these bodies play in the band. Except for the Artistic Office, which is chosen by the Administrative board, whenever required renovation, these governing bodies are elected every two years in lists, being presented to the elections and convened a General Assembly for this purpose. The Artistic Office is composed by the conductor Jorge Pires Ferreira and the ‘contramestre’ Artur Rodrigues since the end of 2000, where they also are teachers and responsible for the band's music school, acting as pedagogical direction (inter. Ferreira, 2011). Pic. 9: Conductor Jorge Ferreira in one of the rehearsals. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md 3.1. The band’s Music School The band does not exclude any candidate, even though, as stated by the conductor, children and young people are preferred to ensure the investment made in their training (inter. Ferreira 2011). The music theory classes are taught by the conductor Jorge Ferreira and the ‘contramestre’ Artur Rodrigues, being supported by some of the musicians who study at the Conservatoire of Music of Aveiro and the Conservatory of Music of Jobra, Albergaria-a-Velha. In addition to the classes of music theory, the students are taught in an instrument, usually by the elder members. The conductor, to choose the teachers, follows a few criteria: seniority in the band, and among the oldest, prevails also who excels as a soloist and who studies at the conservatory. The teaching of brass instruments is ensured by the ‘contramestre’ of the band as he plays euphonium and trombone (Ibid.). According to Jorge Ferreira, these selection criteria for the teachers value and reward the band members, so that they always have present the whole work and the spirit of mutual aid and also to the musicians themselves feel useful and develop a sense of responsibility (inter. Ferreira 2011). As I noticed during the fieldwork, when a teacher can’t go to a class, the conductor choses someone to replace him or her that day, so that the students are not disadvantaged. Comparing the teaching method into practice in this band with the typologies proposed by Mauricio Costa, it was concluded that it is "the teaching method of transition", in which students begin with solfege and then pass into the instrument, while continue taking theory classes (Costa 2009, p. 32). Solfeggio classes are developed under different forms. The conductor wants to be the one who teaches the younger members when they enter the music school, allowing them to get to know the conductor and the other way around. Thus, when they are playing in the band they already have a reference (inter. Ferreira, 2011). It is used he book of Freitas Gazul (Solfeggio I and II), during a first phase, as it does, from the perspective of the conductor, give an overview of how music (notes, figures, rhythm) works. The older members began to learn through the book of Tomás Borba (inter. Andrade 2011). Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md According to the current conductor, when the student reaches a certain lesson (No. 100) in the book of Freitas Gazul, he or she is directed to an instrument to their liking, and this choice also depends on the type of embouchure that each student has. After already being in the instrument (this always working as a "prize" for having reached all the lessons of solfeggio), continue with the theoretical part, but now on a more advanced book, the book of Fernand Fontaine (Traité Pratique du Rythme Mesure) (inter. Ferreira 2011). The new members of the band are presented in public, usually at the band’s birthday concert in April every year. According to Jorge Ferreira, when students who enter the school of music of the band at the beginning of their school years, corresponding to reach the end of the 1st cycle of basic education, with 9 or 10 years of age, are referred to the conservatory, so pursue studies in music. For this, they must do an audition at the institution, according to their age, corresponding to their degree of general education (inter. Ferreira 2011). Although the main objective is to forward the students to the conservatory and other music schools, the band does not exclude older students, who are in another school stage, as was the case with me and others who are already members of another generation and that, however, remain playing in the band. The rehearsals are also a time of great relevance in the learning and training process of the musicians on this band. Regarding the instrument classes I had while doing my participant observation, these took place, as all classes of the band’s music school, on Saturday afternoon at the band’s headquarters, between 2 and 5 p.m., such as happens in other bands, in which Saturday is a day when the conductor, as a military musician, and older students, as workers, have greater availability to devote to learning a musical instrument. During the period that I developed fieldwork, who gave me lessons in flute was the flutist Maria João Balseiro, one of two flutests that were longer in the band and which is also studying flute in the School of Music and Performing Arts (ESMAE) in Porto. My choice of this instrument was due to the fact that previously I have finished the Complementary Course of Violin at the Conservatory of Music of Coimbra, and these two instruments have a similar note range, it is not therefore necessary to Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md adjust the reading. Before I started learning the flute, I explained to the conductor my goals for the participant observation. From here, the conductor suggested this instrument, and the band has an available flute, which at that time was not being used and also for the previously mentioned. I was then responsible for the instrument, having been allowed to take it home to study, as with other instruments, as the band are assigned to new members to learn, until eventually the students decide to buy an instrument of their own. Before I started to learn the notes of the instrument, through a scheme with the fingerings of the flute, the teacher explained what the correct body position with the instrument was, as well as the best way to breathe and blow into it. Then, in a second phase, started studying a book of exercises for flute, this book that serves as the basis for learning to play this instrument (Méthode complète for Flute, Vol. 1 of Taffanel and Gaubert). Besides the existing exercises, I had a scheme with the fingerings of the flute, which was training depending on the notes that were appearing in the exercises, and in the pieces of the band. Also we trained some of the simplest street marches, getting used to it before I started playing in the band. Already in the third phase, after the entry in the band, playing from April 2012, continued with the exercises in the book, but also rehearsed the most difficult parts of pieces performed in the rehearsals either just with her, or with all the flutists. When had more difficulty, the teacher exemplified and explained the best way to overcome it. 3.2. Rehearsals and Repertoire The band rehearsal twice a week: on a weekday and on Saturday, in which the music school's classes also work. If the conductor cannot attend the rehearsals and performances, or changes to other days, or leaves the task to the ‘contramestre’. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md Pic. 10: Rehearsal of the Banda dos Bpmbeiros Voluntários de Ílhavo – Música Nova. The repertoire is chosen by the conductor who, in an interview, explained the factors that are taken into account when making this choice (inter. Ferreira 2011). First, he chooses "a repertoire that the musicians feel good to play, to give them some motivation" (inter. Ferreira, 2011); the conductor chooses repertoire that musicians are happy to play, such as soundtracks from movies, and repertoire written specifically for band (Ibid.). Moreover, the conductor also takes into account the audience to whom they play. As said in the same interview, "a repertoire that people are aware, some topics that people associate with anything in your life, this brings me to choose within that scope." (Ibid). In addition to the various performances, the band has recorded three CD's. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md Pic. 11: Disposition of the musicians of the band in concerts. Pic. 12: The band playing in a religious celebration. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md Pic. 13: Disposition of the Banda dos Bombeiros Voluntários de Ílhavo – Música Nova in processions and ‘Arruadas’. From left to right and from bottom to the top: 1st row – two Tubas, one Baritone Saxofone and one Tuba; 2nd row – three Tenor Saxofones and one Bass Clarinet; 3rd row – three euphonions and one Trombone; 4th row – four Trombones; 5th row – three Horns and one Trumpet; 6th row – four Trumpets; 7th row – two Trumpets and two Snare Drums; 8th row – two Snare Drums, one Bass Drum and Cymbals; 9th row – one Snare Drum, one Glockenspiel and two Alt Saxofones; 10th row – one Clarinet and three Alt Saxofones; 11th and 12th rows – four Clarinets each; 13th row – three Flutes and one Piccolo; 14th row – four Clarinets. 3.3. Musicians The band, during my fieldwork in 2012, had the following instruments: flute (3) and Piccolo (1), oboe (1), soprano clarinet (12) and bass clarinet (1), alto saxophone (5), tenor (3) and baritone (1), trumpet (7), horn (2), trombone (4), Euphonium (2), tuba (2) and percussion (7). Only three musicians are studying music in universities: one flutist (Maria João Balseiro), the School of Music and Performing Arts (ESMAE), Porto; a percussionist (Micael Lourenço) and a trumpet player (André Luís Dono) who, besides having completed secondary education at the Professional School of Espinho, pursue studies at the University of Aveiro. Besides college students, attending diverse courses, and students of Basic Education (also in Conservatory of Music of Aveiro and the Conservatory of Music of Jobra, Albergaria-a-Velha), there are still many workers. The band has the motto "One for all, All for the Música Nova". In some of the performances, the band asks for reinforcements. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md 4. Conclusions This study allowed to quantify the teachers of wind and percussion instruments who began their training in bands and also those who maintain a connection to these institutions; to understand the mode of operation of the bands and how they integrate their community and to observe the influence of these institutions for the personal and social development of its members, in addition to offering free musical training. It revealed that wind bands are of great importance for the training of musicians in Portugal; they intend to contribute to social cohesion and musical education of the community in which they operate, providing educational services on a musical and community level and training of citizens; the bands provide an extensive musical training, serving as a starting point for dozens of musicians, this training being complemented by the conservatoires. The bands send their students/members to the conservatories aiming to develop themselves musically and then bring their learning to the band. They ensure the initial training of all potential candidates and send to schools of artistic education those who show interest and possibilities for further studies. In the band that was studied, the teaching and learning takes place over classes, by the conductor and by Philharmonic musicians he selects (classes for children, young people and members who join the band without knowing how to play any instrument); during the rehearsals (allowing an intra- generational learning and performance); when students reach a level considered promising by the conductor and direction of the institution, the students are advised to apply to the Conservatory of Music of Aveiro and the Conservatory of Music Jobra, Albergaria-a-Velha. This study also allowed to observe the impact of military bands in community bands, being the Artistic Direction of the band studied composed by two military musicians (the conductor is in the Symphonic Band of the National Guard in Lisbon and the ‘contramestre’ integrates the Navy Band); these military musicians are primarily responsible for teaching, choice of repertoire and conducting the band; however, conductor and ‘contramestre’ began their musical education in a community wind band. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md 5. 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The Musical Construction of Place, Oxford 1997.  Pedro Marquês de Sousa, História da Música Militar Portuguesa, Lisboa 2008.  Pedro de Freitas, História da Música Popular em Portugal. Barreiro 1946.  Salwa El-Shawan Castelo-Branco, Voix du Portugal, Paris 1997. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md Dissertations  Agostinho Dinis Gomes, O Contributo das Bandas Filarmónicas para o Desenvolvimento Pessoal e Comunitário, phil. Diss. Vigo, 2007.  André Granjo, The Wind Band in Portugal: Praxis and Constrains, master Diss. Maastricht, 2005.  Fernando Soares Ribeiro, A Banda Filarmónica, bach. Diss. Lisbon, 1999.  Helena Marisa Matos Lourosa, À Sombra de um Passado por Contar: Banda de Música de Santiago de Riba-Ul. Discursos e Percursos na História do Movimento Filarmónico Português, phil. Diss. Aveiro, 2012.  Lélio Eduardo Alves da Silva, Musicalização Através da Banda de Música Escolar: Uma Proposta de Metodologia de Ensaio Fundamentada na Análise do Desenvolvimento Musical dos Seus Integrantes e na Observação da Atuação dos “Mestres de Banda”, phil. Diss. Rio de Janeiro, 2010.  Manuel Bernardo dos Santos Neto, A Sociedade Filarmónica Lousanense: Contributo para a sua História Entre 1853 e a Implantação da República, master Diss. Coimbra, 2009.  Maurício Soares da Costa, Metodologias de Ensino e Repertório nas Filarmónicas de Valpaços, master Diss. Aveiro, 2009.  Nilton Soares da Silva Júnior, As Bandas de Música e Sua Importância na Formação de Músicos – Três Estudos de Caso, Bach. Mono. Rio de Janeiro, 2009.  Ronaldo Ferreira de Lima, Bandas de Música, Escolas de Vida, master Diss. Rio Grande do Norte, 2006.  Samuel Mendonça Fagundes, Processo de Transição de uma Banda Civil para Banda Sinfónica, master Diss. Minas Gerais, 2010.  Susana Bilou Russo, As Bandas Filarmónicas Enquanto Património: um Estudo de Caso no Concelho de Évora, master diss. Lisbon, 2007.  Vera Lúcia Silva Pereira, “Caras mas boas” – Música e Poder Simbólico (a partir da análise da Banda da Armada Portuguesa), master Diss. Aveiro, 2008. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md Articles in Encyclopedia  Graça Índias Cordeiro, article Associações Recreativas, in: Enciclopédia da Música em Portugal no Século XX, A – C, Salwa Castelo Branco, 2010, c. 82-83.  Harold C. Hind and Anthony C. Baines, article Military Band, in: The New Grove Dictionary of Music and Musicians, Volume Twelve, Stanley Sadie, 1980, c. 310-316.  Howard Mayer Brown, article Band, in: The New Grove Dictionary of Music and Musicians, Volume Two, Stanley Sadie, 1980, c. 106-107.  João de Sousa Fonseca, article Banda, in: Grande Enciclopédia Portuguesa e Brasileira, Volume Quatro, 1983, c. 102.  Maria João Albuquerque, article A edição musical em Portugal no século XIX, in: Glosas, no. 3, 2011, c.74-77.  Paulo Lameiro, André Granjo and Pedro Bento, article Banda Filarmónica, in: Enciclopédia da Música em Portugal no Século XX, A – C, Salwa Castelo Branco, 2010, c. 459-461.  Paulo Lameiro, article Banda Militar, in: Enciclopédia da Música em Portugal no Século XX, A – C, Salwa Castelo Branco, 2010, c. 113-114. Websites http://www.cm-ilhavo.pt/, 25th October 2011, 19:50. http://www.bandasfilarmonicas.com/bandas.php?id=202, 14th November 2011, 23:17. http://www.ramalheira.com/paginas/bandas.htm, 15th November 2011, 17:24. http://www.edu.azores.gov.pt/alunos/ensinoartistico/Paginas/artvocacional.aspx , 13th March 2012, 11:18. http://www.drel.min-edu.pt/, 29th November 2012, 15:40. http://w3.dren.min-edu.pt/, 29th November 2012, 15:41. http://www.drealg.net/, 29th November 2012, 15:42. http://www.madeira-edu.pt/dre/tabid/887/Default.aspx, 29th November 2012, 15:42. Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md http://www.drec.min-edu.pt/, 29th November 2012, 15:43. http://www2.drealentejo.pt/portal/, 29th November 2012, 15:43. http://www.ramalheira.com/paginas/musicos.htm, 2nd April 2013, 15:15. Interviews  José Rafeiro, former musician and conductor of the band studied, Ílhavo, 2011.  Conductor Jorge Ferreira, Ílhavo, 2011.  Valdemar Andrade, former trumpetist of the band, Ílhavo, 2011.  António Flor Agostinho, presidente of the band, Aveiro, 2012.  Wind and percussion instruments’ teachers from the Conservatory of Music of Coimbra: o Jorge Papel (Flute), Coimbra, 2012; o José Pedro Figueiredo (Bassoon), Coimbra, 2012; o Daniel Tapadinhas (Trumpet), Coimbra, 2012; o António Alves (Saxofone), Coimbra, 2012; o Paulo Almeida (Saxofone), Coimbra, 2012; o Paulo Vicente (Clarinet), Coimbra, 2012.  Captain Valdemar Aveiro, Gafanha da Nazaré, 2012.  ‘Contramestre’ Artur Rodrigues, Ílhavo, 2013.  João Aníbal Ramalheira, Ílhavo, 2013.  Artur Pinho Maria, former conductor of the band studied, Vale de Cambra, 2013. Other References  Field notes, taken during the rehearsals and in my participant observation and fieldwork;  Minute books from General Assembly and Direction of the Banda dos Bombeiros Voluntários de Ílhavo – Música Nova, presente in the archive of this institution; Maria Helena da Cruz Martins Rodrigues Milheiro Inet-md  Photographs from the archive of the Banda dos Bombeiros Voluntários de Ílhavo;  Articles in the newspaper “O Ilhavense”, from 1922 to 1928, present in the library of the Maritime Museum of Ílhavo;  Legislation that regulates the Artistic Teaching in Portugal.