Band music

Las bandas de música fueron las principales transmisoras de himnos, canciones y marchas en la guerra civil española (1936-1939). Su número se multiplicó en estos trágicos momentos, ya que interpretaron la banda sonora en la vida diaria de los distintos actos, cuerpos, batallones y destacamentos militares de ambos bandos; también de las gentes que quedaron en las poblaciones de retaguardia. En primer lugar, en este artículo nos aproximaremos a la historia de las bandas de música en España para, a continuación, abordar la relevancia de estas agrupaciones durante este conflicto bélico

Este livro organizado é fruto de uma pesquisa conjunta que se inicia nos anos de 2009/2010 com a criação do Grupo de Pesquisa metodologia e Concepção Social do Ensino Coletivo Instrumental. Em 2018, passa a denominação atualizada para Centro de Musicologia de Penedo-CEMUPE vinculado a Universidade Federal de Alagoas. Busca nesta etapa recuperar o arquivo musical do Maestro Aquino Costa Japiassu onde os autores relatam os objetivos de sua obra instrumental e inauguram dentro do selo proposto a serie de obras neste gênero musical filarmônico que são os Dobrados, para Banda de Música.

Superseded by "Brass Bands of the British Isles 1800-2018 - a historical directory"

Of the many brass bands that have flourished in Britain over the last 200 years very few have documented records covering their history. This directory is an attempt to collect together information about such bands and make it available to all. Over 12,100 bands are recorded here, with some 6,300 additional cross references for alternative or previous names.

An ethnographic interpretation of the Christmas Bands Movement in the Western Cape of South Africa, using Foucault's notion of embodied subjectivity to analyse how the band members constitute their subjectivities both individually and collectively.

Review(s) of : Investigating Musical Styles, by Roy Bennett, Cambridge University Press, Cambridge, 1992. ISBN 0 521 38883 X 96 pp. pb. (Part of Cambridge Assignment in Music Series) 3 Cassettes: ISBN 0 521 4 0955 1. Review(s) of : Music, Young Children and You: A parent/teacher guide to music for 0-5 year olds, by Doreen Bridges, Hale and Iremonger, Sydney 1994 , ISBN 0 86806 530 7 . pb. $24 .95. Review(s) of : Keynote: Music to the GCSE, by Tim Cain, Cambridge University Press, Session timeout Your previous session has ended.

La figura poliédrica de Pedro Echevarría Bravo ha sido resaltada por la historiografía fundamentalmente por sus facetas compositiva y pedagógica, su contribución al mundo del folklore hispánico y la divulgación de su investigación y de la cultura musical en general. La presente comunicación tiene como objetivo poner de relieve una dimensión poco estudiada del autor, la de director de bandas de música civiles, dedicación no exenta de una militancia sui generis a favor de la conquista de los derechos del gremio.
Echevarría no se limitó, pues, al desempeño individualista de la dirección de agrupaciones diversas a lo largo y ancho de la geografía española; pronto asumiría un rol de liderazgo en el escenario global del movimiento pro directores de bandas municipales que se venía gestando desde finales de los años veinte y que desembocaría en la creación del Cuerpo de Directores (1932) y su primer Escalafón (1935), donde ya se incluyó al burgalés. Su compromiso con la causa le valió la confianza de la primera directiva de la Asociación Nacional (1931) —posterior Colegio, 1945—, personalizada en Ricardo Villa (presidente) y Román García Sanz (secretario), razón por la que se autorizó su monografía sobre los comienzos del corporativismo (Memorias de un compañero, 1935, s.p.). Asimismo, llegó a convertirse en una pieza clave de la estructura organizativa—delegado de las antiguas demarcaciones de Aragón (director de Ateca y Daroca), Castilla La Vieja (Sotrondio-San Martín del Rey Aurelio) o Castilla La Nueva (Tomelloso)— hasta alcanzar, al final de su carrera, plazas tan apetecibles como la de Santiago de Compostela donde se jubilaría en 1965.
Colaborador asiduo de los órganos informativos y societarios por excelencia de los directores (Ritmo, Boletín de la Asociación y del Colegio), Echevarría también participó vivamente en los debates bandísticos del momento al tiempo que se relacionó con personalidades influyentes como Julio Gómez.

Los primeros años del franquismo fueron fundamentales en la articulación de un sistema cultural penitenciario que se extendió desde la constitución de los primeros centros de re-presión de la «zona nacional», hasta el final de la dictadura.
En este sentido la música fue tomada como herramienta de propaganda, pero también con una finalidad reeducativa y asi-milativa de la pena. Músicos y compositores sufrieron las diferentes oleadas de represión, pero la situación de libertad privada dio también lugar al nacimiento de identidades creado-ras e interpretativas.
El objetivo principal de este artículo es revisar la creación de bandas en las prisiones españolas sujetas al marco de redención de penas establecido por el Patronato de Nuestra Señora de la Merced y analizar la implicación que en ella tuvieron los músicos pertenecientes al movimiento bandístico de preguerra de la zona de levante. 

The early years of Franco's regime were essentially an articulation of a cultural prison system that stretched from the constitution of the first institutions of repression of the 'national zone', until the end of the dictatorship. In this sense music was utilised as a propaganda tool, but also with a re-educational and assimilative purpose regarding punishment. Musicians and composers suffered in the wake of various waves of repression, but the oppresive situation nevertheless gave rise to the birth of creative and interpretative identities. The main aim of this text is to review the creation of music bands under the framework of redemption of penalties established by the Patronato de Nuestra Señora de la Merced. The implication of the musicians belonging to the bandistic movement coming from prewar Levant area will also be analysed.

La formación musical de Ruperto Chapí en la banda de su Villena natal, la Música Nueva, y su actividad instrumentista de flautín, primero y de cornetín después, le llevará a conocer el mundo bandístico y a adquirir la técnica musical mediante el análisis de cuantas pequeñas piezas musicales llegan a sus manos, bien por los directores que pasan por la banda o porque él mismo se empeña en componer.
Esta práctica instrumental le ayudará a iniciarse en el arte de la composición sin apenas conocimientos de armonía y básicamente dejándose llevar por la intuición y sus innatas cualidades para la música.

Matthew Arbuckle, a Scottish immigrant best known for his work as a cornet soloist for two decades with Gilmore's Band and as a bandleader, was a man of national musical renown at the time of his death in 1883. One obituary summarizes his impact thusly: “Mr. Arbuckle was not only a great favorite with the public, but he was also popular throughout the musical world, and was happy in possessing the friendly esteem of the most eminent artists in the profession.... his amiability [caused] him to be a general favorite.” Even a few weeks after his death, Arbuckle still held a position in the news around the country. However, he was for some time in Worcester, Massachusetts with Fiske's Cornet Band, and his time there is as worthy of study as his work with Gilmore. Little was known about his years in Worcester, but through careful primary source research in programs and newspapers, a new portrait of the man emerges. His emerging skill as a cornetist and bandleader is displayed through his time in Worcester, and gaining a previously unknown depth to the man, his history, and his legacy.

Both the life and the art of Percy Grainger are marked by polarities. His musical activity encompassed the practical performance (as piano virtuoso and as musician and bandleader of American military bands) as well as the composition of music. His interest in folk songs may be described as the conservative aspect of his oeuvre, one which at first glance hardly seems to fit with the musical and aesthetic radicalism characteristic of his "free music". The contradictory tendencies towards popularization and artificialization also apply to his works for military band, though on different levels. On the one hand, Grainger "rescued" authentic folk melodies which he collected in many parts of the world, especially in rural regions of England and Scandinavia. His compositions are informed by popular folk tunes which are artificialized in the process. At the same time, a popularization of classical music can be observed in Grainger’s work. He was one of the first people to use recording equipment when collecting folk music. The authenticity of this recorded music was assimilated into his compositions as an aesthetic principle. In his Lincolnshire Posy, for example, he recreated the tonal and rhythmic imprecisions of everyday folk singing. Thus, the individual movements of that piece are not merely arrangements of the musical substance of the song; they become a portrait of the untrained, genuine folk-song singer. Grainger, unlike many composers of his time, considered the military band to be an instrumental body with its own individual sound aesthetic. His many original works for wind band testify to his efforts to open up the genre, generally located more in the popular spectrum, to classical music too. Here again, his artificializing is joined to a popular orientation, because completely different "markets" were opened for his works if he composed for other forces than the usual classical ensembles.
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Percy Grainger, dessen Todestag sich in diesem Jahr zum 50. Mal jährt, ist nicht nur hinsichtlich seiner Biographie, sondern gerade auch als Künstler geprägt von Polaritäten. Sein musikalisches Wirken umfasste die praktische Ausführung (als Klaviervirtuose oder als Musiker und Leiter in amerikanischen Militärorchestern) genauso wie die Komposition von Musik. Sein Interesse für das Volkslied kann als konservative Tendenz seines Schaffens beschrieben werden, die auf den ersten Blick wenig zu seiner klanglichen und ästhetischen Radikalität zu passen scheint, die etwa seine „Free Music“ prägt. Die gegenläufigen Tendenzen Popularisierung und Artifizialisierung betreffen seine Kompositionen für Militärorchester gleichermaßen, wenn auch auf unterschiedlichen Ebenen: Einerseits „rettet“ Grainger authentische Volksmelodien, die er in vielen Teilen der Erde, besonders jedoch in ländlichen Regionen Englands und Skandinaviens sammelte. Populäre Volksmelodien prägen seine Kompositionen und werden somit artifizialisiert. Zugleich lässt sich in Graingers Werken eine Popularisierung von Kunstmusik erkennen: Beim Sammeln der Volkslieder setzte er als einer der ersten den Phonographen ein. Die Authentizität der Aufnahmen übertrug er als ästhetisches Leitbild auf seine Kompositionen. Möglichst exakt bildete er (etwa in Lincolnshire Posy) tonliche oder rhythmische Ungenauigkeiten im (alltäglichen) Vortrag von Volksliedern nach. Die einzelnen Sätze verarbeiten so nicht nur die musikalische Substanz des Liedes, sondern werden zum Portrait des nicht ausgebildeten, authentischen Volklied-Sängers. Dass Grainger das Militärorchester als Besetzung mit eigenständiger Klangästhetik wahrnahm, unterscheidet ihn von vielen anderen Komponisten seiner Zeit. Indem er zahlreiche Originalwerke für Blasorchester schuf, zeigt Grainger ein Bemühen, die eher im populären Kontext beheimatete Besetzung auch für die Kunstmusik zu öffnen. Auch hier geht mit der Artifizialisierung die Tendenz zum Populären einher, denn zugleich eröffneten sich für Graingers Kompositionen ganz andere „Märkte“, wenn er nicht allein für die in der Kunstmusik „üblichen“ Besetzungsformen komponierte.

This article compares and contrasts between two types of musical leaders typically found in many student, semiprofessional, community, and (in some cases) professional small and large musical ensembles: those who believe the product of the whole is priority and those who believe the showmanship of the individual is priority. The article explains how these conflicting personalities can cause miscommunication and a lack of synchronization among the performing ensemble’s personnel leading to potentially ineffective rehearsals and lackluster performances. To overcome this disconnection among colleagues, the article gives suggestions on how all performers can become collaborators (rather than competitors) by making proactive adjustments to their own parts to “make them work” regardless of the actions of others who may not be as proactive.

Since Singapore gained independence from Malaysia in 1965, the formation of brass bands in schools had been considered a “high priority” by the government, with the aim to “engender group discipline, esprit de corps and a sense of national identity.” The School Band Movement was therefore launched in 1966 to also compensate for the lack of marching bands to be deployed in national ceremonies. While the historical overview on the School Band Movement demonstrates the practical level of using the marching band to serve Singapore’s social and political needs, this paper argues that there is another level of ideological and metaphorical conceptualization. Sociological studies on Singapore’s national identity construction suggest that during the country’s early years of independence the rhetoric of survival was used by the state leaders in their public speeches and writings. With the understanding of the brass band as a metaphor of power, this paper portrays Singapore’s national identity through a discourse analysis of the state’s interpretations on the marching band. I suggest that the brass band manifests the ideology of survivalism, which was partly yet largely constructed from the event during the National Day Parade in 1968 when the marching band students had to perform in an unexpected heavy rainstorm. The event, with the conceptualization attached to the brass band since then, was constructed as a collective memory of the nation, and in turn inspired interpretations in cultural forms.