Marching Band

If a book could have a granny flat, then I have already done that with the first Fluter's Companion, if it could have a conservatory, well I've already done that with the last book, so consider the Appendix1. a new basement for the last book, adding a further 125 tunes to the 700 existing tunes. These are tunes that bands play today or will lay tomorrow, with a couple dozen I have composed myself. This will be available soon to purchase as a paperback for about £6 but feel free to download it and use it in it's draft form.

This finger chart is suitable for 5 keyed versions of the following Bb band flutes ;
Miller Wicks N.I, Miller Browne, Mullan, Peter Worrell, Tony Millyard, Crosette, Pro Corps, Ferris, Ammo & Co. Cliffy Rea, Hawkes & SOns Crown AZ, Rudall Carte, Henry Potter's, Dibora.

From the 1850s wind and brass bands started mushrooming in all the towns and villages of the Maltese Islands. This brought great changes to the Musicians of traditional instruments who previously had defined roles within the Maltese community and who played music that was improvised or unwritten.

This was a paper read in the Seminar EXPLORING THE TRADITIONS AND ARTISTIC CONTRIBUTION OF LOCAL BANDS (Gozo, 2015).

While the exact roots are not accurately known, hazing has likely existed for countless generations.  Intended to mentally and physically acclimate new members to organizations, this tactic usually backfires, as evidenced by the recent death of Robert Champion on November 19, 2011.  There are many types of marching bands, but some of those in Historically Black Colleges and Universities (HBCUs) run a higher risk of hazing susceptibility than those of Predominately White Institutions (PWIs) due to their high-profile status, intense level of competitive spirit, and the intrinsic cultural need for bonding, loyalty, cohesion, brotherhood, and sisterhood.  Understanding, addressing, and preventing this issue will not come through legal measures alone, as such attempts in the past have only driven members to adapt and resort to further subversion.  This case study was conducted on the campus of North Carolina Agricultural and Technical State University, and centered on interview, focus group, observational, document review, and audiovisual material review data pertaining to the school’s marching band, the “Blue and Gold Marching Machine.”  The findings support the claims that educators and administrators should a) understand the psychosocial (psychological and social) factors that are the root causes of hazing, b) address potential hazing climates by analyzing and shaping organizational culture while working to dispel long-standing negative ideologies, and c) preventing hazing cultures from forming by instilling leadership development, particularly in the servant-leadership style.  This holistic course of action would prove to be more efficient and sustainable than past methods, many of which center only on regulations, punitive measures, and policies alone.

This paper explores the interaction of the embodied practices of musicking and discourse in bringing forth identity and creating community in contexts of marching, playing, singing, dancing and bantering during the visit of Sir George White Memorial Flute Band from Broughshane, County Antrim, to an Orange lodge in the Ayrshire mining village of New Cumnock, on the occasion of the annual celebration of the Battle of the Boyne. 

    The paper shows that communal embodied experiences of musicking can both define and transcend boundaries whilst bringing forth communal identities, and also highlights the strategic uses of discourse to account for embodied ways of being in the world, and to define and redefine the nature of the community being produced.
In Reily, Suzel & Katherine Brucher. 2013. Brass Bands of the World: Militarism, Colonial Legacies and Local Music Making. Ashgate: Farnham.

The paper draws on work by Victor and Edith Turner to explore the long term political effects of transitory but powerful emotional experiences in bonding band members to each other and to the broader social world of working-class loyalism within which these experiences are brought forth.

Εμβατήρια δεν είναι μόνο οι μουσικές συνθέσεις που ακούμε σε μια παρέλαση αλλά είναι και διάφορα κομμάτια που εκτελούνται στις λιτανείες (Marcia trionfale) και στους επιταφίους - νεκρικές πομπές (Marcia funebre). Ο σκοπός λοιπόν των εμβατηρίων είναι ο συντονισμός του βηματισμού πολυάριθμου πλήθους και ανάλογα με την τελετή όπου ακούγονται διαφέρουν ως προς την ταχύτητα (tempo).
Τα Ελληνικά εμβατήρια ταχύτητος παρελάσεως (110-120 χτύποι το λεπτό) για τις Ένοπλες Δυνάμεις ας πούμε πως χωρίζονται σε τρεις κατηγορίες. Η πρώτη κατηγορία περιλαμβάνει τα εμβατήρια του Στρατού Ξηράς, κάποια από τα οποία θα αναλύσουμε παρακάτω. Η δεύτερη κατηγορία τα εμβατήρια του Πολεμικού Ναυτικού, και η τρίτη τα εμβατήρια της Πολεμικής Αεροπορίας. Κάποια εμβατήρια είναι κοινά και για τις τρεις Δυνάμεις εφόσον μιλούν γενικά για την Ελλάδα.

For a complete performance recording with score-video see: https://www.youtube.com/watch?v=3B4p0JjK-so

A trio for Clarinet, Violin, and Piano written for and premiered by The Bold City Contemporary Ensemble of Jacksonville, Florida, this work attempts to make a mockery of and musically challenge/problematize the suggested violence and toxic nationalism inherent in the tradition of "marches." As we all revel in the glory and celebration of a march, we are often celebrating and endorsing the likely, if not inevitable, death of those marching. Furthermore, even if the march is not militarily oriented, it still rests in a violent tradition of propagandized warmongering.

This work begins with a "tongue-in-cheek," cheery march that slowly dissolves, reemerging as a slightly more sinister, militaristic march. This march also works itself out, decaying again, to reemerge as something only vaguely reminiscent to a march in tempo and strong, regulated beat structure. This third, chaotic march gradually transforms into abstract chaos, reminiscent of battle, the implicit ultimate result of any "march" activity. This progression represents the easy and often subtle path from innocent celebration and festivity to violence, war, and mass death.

Following this battle, a wasteland emerges, with only fragments of the marches persisting. Here, the implicit consequence of the tradition of march is symbolized in the final death of the music, the end to the pulsing that is both the dissolution of the march and the heartbeat of our metaphorical "hero," who marched to their death for our celebratory delight.

Hospitality is a sacred obligation that counts among humanity’s oldest customs. Since ancient times, hosts have been called to recognize the divinity of visitors and ensure guests receive food, drink and shelter, asking nothing in return.  Drawing on brass band culture and engaging the public through the medium of alternative community street band performances, HONK! festivals invite musical exploration and celebration for free. Musicians travel at personal expense and, in return for the free public performances they offer, they receive food, drink and shelter from local volunteers. This report explores this unique intersection of modern ethnomusicology and hospitality anthropology, and will describe the organization behind, and experience of, hosting 195 visiting community street band musicians during the inaugural HONK!TX festival. Ultimately, it attempts to answer the question: why do volunteers open their homes to strangers?

The history, impact, and legacy of the marching bands at Historically Black Colleges and Universities (HBCUs) is infinite and immeasurable for not only the members, but also for the students, faculty, administrators, staff, family, and community members. At the member level, HBCU Marching Bands can be a “home away from home,” providing structure, routine, and discipline. At the fan level, for HBCU students, alumni, community members and others, HBCU marching bands and traditions also can provide the social and emotional bonding, as well as financial support to the institution that may span for multiple generations. In this edited volume we will capture the rich history and legacy of HBCU marching band from former members and affiliates. While this book will reveal triumphant stories, it will also provide counter-narratives to debunk the myth that HBCU marching bands are inherently negative, as in the case of recently reported hazing incidents. We openly acknowledge, and do not seek to dismiss or minimize the tragedies of these isolated cases. However, we would like to highlight HBCU Marching Bands as organizations that are not defined by these extremely unfortunate, embarrassing, and tragic moments, but rather as critical to the support and expression of our HBCU communities and culture.

Salah satu factor pendukung agar sekolah kebanjiran pendaftar siswa baru adalah dimiliki alat drumband. Nah, kami berusaha hadir memberikan solusi penyediaan alat drumband dan marchingband yang berkualitas. Kami yakin Bapak/Ibu sedang mencari tempat yang tepat untuk beli peralatan marching band buat tim terbaik Bapak/Ibu. Sebagai pembeli, tentu saja mencari yang benar-benar berkualitas, dan tentu saja yang paling penting adalah harga murah, tapi tidak murahan. Pabrik kami merupakan pengrajin Drumband dan distributor alat Drum band, marching band beserta kostum dan aksesorisnya. Segala kebutuhan kegiatan drum band dan marching band dapat Bapak/Ibu dapatkan di tempat kami. Alat yang kami produksi merupakan alat yang memiliki kualitas terbaik dan dikerjakan oleh tenaga ahli berpengalaman. Kami juga merupakan pabrik drumband terbesar yang menjual Peralatan Marching Band maupun Drumband Terbaik. Jual Alat drumband kami biasa digunakan untuk pawai dan acara-acara lain yang melibatkan pemain drumband seperti peralatan semi marching band, marching band, dan berbagai peralatan seragam dan kostum drumband lainnya yang dapat dipesan secara bebas oleh konsumen dengan harga yang relatif terjangkau. https://jualdrumband.com/

This paper looks at Stephen Olbrys Gencarella’s idea of Critical Folklore Studies and its compatibility with cultural sustainability. Gencarella calls for folklorists to tackle hegemonic forms of folklore in an effort to help subaltern groups. In doing so, it could happen that a folklorist contributes to the destruction of a form of folklore. This paper will look at Protestant traditions in Northern Ireland which are highly contentious and which could be described as hegemonic. By doing so, the paper will attempt to create answer, and create discussion about, the question of whether folklorists should always strive for cultural sustainability.

This paper explores the interaction of the embodied practices of musicking and discourse in bringing forth identity and creating community in contexts of marching, playing, singing, dancing and bantering during the visit of Sir George White Memorial Flute Band from Broughshane, County Antrim, to an Orange lodge in the Ayrshire mining village of New Cumnock, on the occasion of the annual celebration of the Battle of the Boyne. The paper shows that communal embodied experiences of musicking can both define and transcend boundaries whilst bringing forth communal identities, and also highlights the strategic uses of discourse to account for embodied ways of being in the world, and to define and redefine the nature of the community being produced. In Reily, Suzel & Katherine Brucher. 2013. Brass Bands of the World: Militarism, Colonial Legacies and Local Music Making. Ashgate: Farnham. The paper draws on work by Victor and Edith Turner to explore the long term political effects of transitory but powerful emotional experiences in bonding band members to each other and to the broader social world of working-class loyalism within which these experiences are brought forth.

Kami merupakan Pengrajin  Distributor peralatan Drum Band TK menjual dan menerima pesanan alat drum band sesuai dengan kebutuhan juga budget Anda, 

Kami menjual dan menerima pesalan alat drum band di wilayah jakarta tangerang, bogor, bekasi, depok dan wilayah lainnya diseluruh indonesia 
http://www.jualmarching-drumband.com/

This research study identifies techniques of creating and releasing musical tension in audio-visual performance media, specifically within the marching arts. A successful composition in this medium is defined, in part, by the coordination of effects between pitched musical elements, non-pitched (percussive) musical elements, and movement (choreographed) elements. Such compositions create a concert performance situation in which there is aesthetic gratification and a sense of sophistication in which aural stimuli interact in congruence and in conjunction with visual stimuli. By identifying the creative practice through conversation with practitioners, designers, choreographers, and composers, the common practices of the genre can be identified to better inform future design and composition endeavors. This will benefit not only the marching arts but also those directors and musicians who wish to create enhanced, audio-visual performances in any setting.

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.