Wind band

As viewed through the theoretical frameworks of Lave and Wenger’s situated learning, leisure theory, and quality-of-life theory, the purpose of this study was to examine the characteristics, attitudes and perceptions of adult community band musicians (N = 275) in nine randomly selected ensembles in order to glean insights into how music education might facilitate (a) more meaningful connections between school and community, and (b) greater lifespan engagement with participatory music making. The “typical” survey respondent was over 45, physically healthy, white, nonsmoker, nondrinker, churchgoer, well-educated, upper-middle class, married with children, active in the community, studied piano and sung in a choir at some point, learned their instrument in school, enjoyed classical music, and chose to play in the band for both musical and social reasons. Significant differences between those who learned to play their instrument in school and those who did not were minimal. Implications for music educators concerned about the “car- ryover” of school music to music making later in life are discussed.

Keywords: Maori music / Brass bands / Ratana bands / Juji Nakada

Genre: Original cross-national historical research.

Discusses: "some musical implications of the historical relations between Maori prophet Tahupotiki Wiremu Ratana (1873-1939) and Japanese Rev. Juji Nakada (1870-1939), as reflected in contemporary brass bands and liturgical practices."

Wind-Bands are musical ensembles existing all around the world, but with a stronger traditional presence in certain regions of the globe. One of these regions is Southern Italy. In this geographical area, this phenomenon developed historically over two centuries and has taken on shapes now considered traditional. Thanks to Wind-Bands, historically, millions of Italians have participated in collective musical activities as musicians or listeners and have been trained in music. Wind-Bands, in fact, for most of the 19th and 20th centuries have been the main means of spreading musical culture in Italy and the world and the only way for working class youth to learn a musical instrument. Thanks to a careful examination of the publications on the local Wind-Bands through the historiographic method, we have outlined a frame that explains the change in the social role of the Bands from the end of the 19th century to today. The conclusion is that today the Wind-Band has assumed a new morphology that, however, would deserve to be reconsidered taking into account the new social changes taking place (emigration of the middle class, immigration, social reforms and the music education system, and so on.) to understand if, as in the past, the Wind-Band can still have a fundamental functional role in local communities for social cohesion and music education, or at least imagine future scenarios to reconsider this role.

Είναι γνωστό ότι πολλά από τα πρωτότυπα έργα Ελλήνων συνθετών για σύνολα πνευστών παραμένουν λιγότερο ή περισσότερο ανεκτέλεστα. Η διαπίστωση αυτή αφορά και σε έργα μεγάλης αισθητικής αξίας, που δεν έχουν κατορθώσει να αποτελέσουν τον πυρήνα ενός «κανονικού ελληνικού ρεπερτορίου» για σύνολα πνευστών. Τα διαθέσιμα έργα είναι λίγα σε σχέση με την αντίστοιχη παραγωγή χωρών του Εξωτερικού. Αλλά και η προσπέλαση σε αυτά και η εκτέλεσή τους παρουσιάζει επίσης δυσκολίες: αρκετά σώζονται αποκλειστικά σε χειρόγραφη, δυσανάγνωστη μορφή με λάθη· πολλά υπάρχουν μόνο σε δύσκολα προσβάσιμες συλλογές· δεν υπάρχουν κατάλογοι που να διευκολύνουν την έρευνα ούτε έχει προχωρήσει η ψηφιοποίησή τους· συχνά λείπει η παρτιτούρα ή τα μέρη. Ακόμα, σπανίζουν οι διαθέσιμες τεχνικού και ερμηνευτικού επιπέδου ηχογραφήσεις και λείπει ένα σύστημα αξιολόγησης του επιπέδου δυσκολίας και περιγραφής των έργων που να διευκολύνει τον ενδιαφερόμενο ερευνητή ή διευθυντή ορχήστρας.
Η παρούσα εργασία παρουσιάζει τη διαδικασία ανάδειξης του «Αρχαίου Ελληνικού Εμβατηρίου» του Νίκου Σκαλκώτα, ενός αγνοημένου πρωτότυπου έργου για ορχήστρα πνευστών. Η συνθετική παραγωγή του συνθέτη για σύνολα πνευστών, παρότι σημαντική, παραμένει ερευνητικά αλλά κυρίως ερμηνευτικά αναξιοποίητη. Μετά από μια σύντομη αναφορά στις υπόλοιπες συνθέσεις του Σκαλκώτα για μικρότερα ή μεγαλύτερα σύνολα πνευστών, παρουσιάζονται τα βήματα επεξεργασίας του έργου και της κριτικής προσαρμογής του στις ανάγκες μιας σύγχρονης ορχήστρας πνευστών και τίθενται ερωτήματα σχετικά με τις τεχνικές ενορχήστρωσης και μεταγραφής του συνθέτη, καθώς και ζητήματα εκτελεστικής πρακτικής του «Εμβατηρίου».

From the late Middle Ages, wind bands were long established as independent groups in urban centres or as members of royal or noble households. In 1526, Seville cathedral chapter decided to place them on the pay roll. Since then, these groups of ministriles became formalized at Spanish major ecclesiastical institutions and a major distinguishing feature of them. From at least the beginning of the sixteenth  century, and separate from their likely participation in the performance of improvised polyphony, these instrumentalists made use of music books, including those of vocal polyphony, compiled or acquired exclusively for them. Into these books was copied a varied repertory that allowed them to fulfil the diverse services required of them. Four extant books for wind-players, and the detailed inventory of a fifth book now lost, bear witness to the existence and use of these books in Spain and Spanish America. These books generally include works by important local composers as well as imported international repertory of the highest quality. The paper examines the group of pieces originally in Italian or created by Italian composers in this context. Some of these works are known only through these instrumental sources; others may have been copied, directly or indirectly, from prints. Many elements in these books suggest a degree of selection in the repertory and a direct line of transmission through instrumentalists who were also copyists. With instrumental performance, the limits between vernacular and sacred were blurred, making the wind band one of the most important agents for the circulation of international repertory in the Spanish crowns.

Per a tothom pareix ben clara la necessitat d'una història social de la festa, però són pocs, no obstant això, els que l'han abordada en qualsevol dels seus aspectes i sempre de forma parcial. Dos dels nostres més qualificats historiadors, els cosins Josep i Lluís Torró, han fet palesa en més d'una ocasió aquesta necessitat i són referències ineludibles en aquest sentit els seus articles "La necessitat d'una història social de la festa" i "Festa i societat als primers sainets alcoians (1855)". 1 Estretament vinculat amb ells es troba l'extens estudi realitzat per Jordi Botella (1995) sobre el Sainet fester, del qual ens interessa especialment el període que abraça la segona meitat del segle XIX i els primers anys del segle XX, anomenat pel nostre autor com a "època fundacional". Tots tres analitzen de forma semblant la situació reflectida als primers sainets: l'alta burgesia industrial alcoiana és divertida i interessada espectadora d'una festa en mans del proletariat. Una festa que anirà 201 ÀNGEL LLUÍS FERRANDO MORALES

Valletta, Malta's capital city, built by the Hospitaller Knights of Malta (Order of St John) is also known as 'Humilissima Civitas Valletta' or as 'Città Umilissima'. It still presents its own particular warm and congenial aura through its architecture acting as urban points of reference that relate to a unique identity. Such a distinctiveness definitely possesses numerous essential layers evoking associations and memories sketched in time over the years. The identity of Valletta lurks in these covert layers where such processes can be noted. These layers have helped in the popularisation of culture in Malta, especially through the remarkable development and international visibility of the wind-bands in Valletta during the opening decades of the 20 th century. The capital city's stakeholders of wind-band culture emerged as protagonists of creative practice that has helped shape and mould the entire wind-band musical fabric throughout the Maltese islands as will be seen in the course of this paper. As already stated, Valletta presents a patchwork of socio-cultural memories that support this musical collage: amongst the more conspicuous layers one finds the ecclesiastical echelons that have played a considerable influence and exerted dominance on the national musical scenario. The Wind Band societies in Valletta have been significant protagonists through their bold enterprise, while 'serious' art-music featured regularly at the Teatru Rjal (Royal Opera House) and the Manoel Theatre, as well as the highly popular entertainment meccas such as the open-air cafes at Piazza Regina and the iconic Strada Stretta bars. These memories exist in the national consciousness and are worth revisiting and re-exploring. Such dynamic elements have certainly led to the popularization of art-music in Valletta, Malta's cultural hub. The local Church establishment was not the sole influential constituent to encourage popular mass gatherings and participation. In Valletta, for instance, the two emergent band clubs were at the fore to play in public, well-known church hymns and also to propagate and disseminate art music to the masses. Although the establishment of the capital city's two wind bands dates back to the second half of the 19th century, it is during the last century that innovative practices and ventures were undertaken systematically.

Nicht jeder Musikverein darf auf 200 Jahre Bestand zurückblicken. Die Stadtmusik Bern ist stolz, eine der ältesten und noch bestehenden Blasmusikformationen der Schweiz zu sein – und dazu noch mit einer so vielgestaltigen und aussergewöhnlichen Geschichte! Gestartet als Garnisonsmusik unter militärischer Prägung wandelte sie sich unter so grossen Namen wie Carl Friedemann und Stephan Jaeggi im 20. und 21. Jahrhundert zu einem modernen Blasorchester. Neben Einblicken in die 200 Jahre der Vereinsgeschichte werden drei aktuelle Herausforderungen besprochen, mit denen heute viele Musikvereine zu tun haben: die Probendisziplin, die ausreichende Versorgung mit finanziellen Mitteln und die beständige Sorge um den musikalischen Nachwuchs. An illustrativen Episoden aus der Geschichte der Stadtmusik kann gezeigt werden, dass diese drei Problemkreise so alt sind wie der Verein selber. Schliesslich kommen auch Vorstands- und Aktivmitglieder zu Wort. In Form von Interviews geben sie Auskunft über ihren musikalischen Werdegang, über ihr Mitwirken im Verein und darüber, wie sie die Zukunft der Stadtmusik sehen. Damit ist die Stadtmusik Bern gerüstet für die nächsten 200 Jahre.

This article serves to extend a critique initiated by Allsup and Benedict in their 2008 PMER article, “The Problems of Band.” Using the work of Michael Foucault as a theoretical and methodological basis, I consider ways in which today’s large ensemble paradigm, particularly that of the wind band, has re- sulted in an ongoing antinomy in school music between those who view bands as a medium of music education and those who view bands as a medium for music education. I argue that the emergence of the pedagogical band world in the United States and Canada altered the nature of wind band practices, and that the resultant bands-as-music-education paradigm can be understood in terms of issues of power and legitimacy. I strive to demonstrate how future directions in music education might benefit from a reflexive engagement with the discourses of our profession.

Large ensembles (e.g., choirs-orchestras-bands) have become prominent fixtures in most secondary schools and university schools/faculties of music in Canada and the United States. At the secondary school level, large ensembles have become, in effect, practically synonymous with the words “music education.” This paper derives from my own experience with and interest in wind bands as a means of enacting music education. Specifically, I interrogate, through a Foucaultian discourse lens, the kind of relationship with music fostered in and through what I term the pedagogical band world—the world comprising school and college/university wind bands that has developed from around the middle of the twentieth century. Based on an intensive examination of pedagogical band world discourse and a consideration of the historical appearance and evolution of bands, I argue that as bands became entrenched as the primary medium for music instruction in secondary schools (and concurrently became a major component of university schools/faculties of music), and as education increasingly became the target of state concerns over “progress,” the discourse of band performance changed from one of supplying music in order to create a sense of community and personal enjoyment to one of edification through exposure to Art (i.e., great repertoire).

Resumen: A nivel internacional, las políticas de conmemoración se convirtieron en un arma poderosa durante el periodo de entreguerras. Estos actos constituían la ocasión en la que las élites y la población podían no solo compartir un mismo espacio, sino también sentimientos y emociones creando una ilusión de camaradería muy poco frecuente. El uso de diferentes símbolos como hon- dear banderas, cantar diferentes himnos y la celebración en fechas cargadas de significado facilitaba su asociación a referencias políticas. En tanto que esas acciones pretendían promover ciertos valores y creencias entre la población, deben ser considerados como una parte destacada de la propaganda estatal. La I Guerra Mundial ya había demostrado la eficacia de la propaganda para para guiar a las masas e incluso influir sobre el enemigo, por lo que su uso en los diferentes estados fue rápidamente generalizado. Considerando que en España tuvieron lugar varios actos de esta naturaleza, y a pesar de que la propaganda ha sido normalmente ignorada por la academia, este capítulo discute cómo el gobierno creó tales actividades como un medio para promover la identidad nacional, en las que las bandas de música, al igual que en otros aspectos de la vida cotidiana, jugaron un papel esencial.

Art is a critical and widely used tool to achieve social change. Senior citizen arts has been introduced to change public perception of the elderly population. This article focuses on the challenges of promoting senior arts in Hong Kong. Based on personal observation and interviews, this article argues that the challenges arise from the public perception of a senior citizen. This perception becomes a barrier to the development of senior citizen arts. The Men of Winds case study demonstrates the importance of making quality arts to promote senior arts in society. It also reflects on the value of senior citizen arts and social service to the community.

El término «culturas políticas» ha tenido un amplio bagaje en las ciencias sociales y las humanidades desde su acuñación en los años sesenta; hasta que, en los últimos años, con la influencia de la semiótica en los estudios culturales, se ha estabilizado tanto su significado como su aplicación. Entendemos por «cultura política» el conjunto de discursos y prácticas simbólicas mediante las que los colectivos reivindican sus demandas al resto de la sociedad. Este paradigma de análisis resulta muy adecuado en el marco temporal que constituye la Segunda República porque, como es bien sabido, fue un periodo de una enorme inestabilidad política. Los diferentes colectivos sociales, guiados por sus credos ideológicos, compitieron por ganarse el favor de la ciudadanía para conseguir el poder efectivo. Esta disputa fue especialmente visible en configuración del calendario festivo republicano. El objetivo principal era fomentar una determinada identidad colectiva haciendo uso de las políticas de conmemoración; de esta manera, las festividades de nuevo cuño se sumaron a otras ya existentes que contaban con una larga tradición de significación. Para ello, analizaré esas «culturas políticas», prestando una especial atención a la música, en sus diferentes manifestaciones, pero también al resto de símbolos que ayudaron a propagar el significado concreto que cada situación requería. Así trataremos de demostrar cómo se configuró un régimen político tradicionalmente asociado a la izquierda, que en realidad estuvo conformado por un arco parlamentario mucho más heterogéneo.

Il testo è una rassegna dell'attività della banda di Cittadella (PD) basata su un gruppo di carte conservate assieme a una serie di partiture manoscritte presso il Complesso Bandistico "Ciro Bianchi", una serie di elenchi compilati dall'allora direttore della Banda Comunale M° Primo Stangherlin tra il 1952 e il 1957.

https://www.pierluigibattaglia.it/2016/01/12/uno-sguardo-sulla-banda-musicale-cittadellese-1952-1957/

The Banda de Música Ciudad de Oviedo was established in 1992, reviving a wind band tradition in the capital of Asturias. After 25 years of activity, the Oviedo wind band has established itself as a musical point of reference in the city due to its continuous presence in the public field, especially through the practice of holding free public concerts. Founding, developing and contributing to the diffusion of the repertoire, especially, the lyrical one, to the general audience, is examined in this article. 1 El presente artículo es resultado de las actividades de investigación realizadas como parte del proyecto de investigación interuniversitario Microhistorias de la música contemporánea: ciudades, teatros, repertorios, instituciones y músicos (MINECO-16HAR2015-69931-C3-3-P), del proyecto de I+D del ICCMU Espacios, géneros y públicos de la música en Madrid, ss. XVII XX (MadMusic), y del grupo de investigación Edición, Investigación y Análisis del Patrimonio Musical Español (ERAMUSH)....

We present a discussion of a fundamental base for the research we have been conducting on teaching in Brazilian music bands. We assume a perspective of music teaching by the diversity of discourses present in active musical making (Sílvia Cordeiro Nassif Schroeder, 2005), thus, we consider bands as a potential space for the teaching of music based on diversity and equity (Cruz, 2019). We consider that access to music learning in Brazil has occurred in three major ways, public schools, specialized schools and social projects. The teaching of music in Brazilian public schools has become submissive to the multipurpose teaching practice of teaching the different artistic languages with fragile methodological support. Music schools, on the other hand, have a smaller number of institutions that cannot be present in all cities, and, when yes, they serve a small portion of the population (Penna, 2013). Music bands, understood as a modality of social project, are historically linked to a profuse performance in the local customs of each community in which they are mainly inserted in small and medium-sized Brazilian interior cities (Benedito, 2011; Duprat, 2009; Lange, 1997; Pereira, 1999). Compared to public schools and specialized schools, Brazilians music bands build their pedagogical potential in the gap between a certain methodological indeterminacy present in public schools and the formalities of traditional specialized education. By engaging without exclusivity with western tradition music the band maintains its traditions in the execution of tonal music
with demarcated intentionality of teaching practice. However, being profuse in different social realities of different interior cities, the band ends up still getting involved with the music of the daily life of the communities, thus creating a bond of mutual belonging, and making room for different discourses and musical perspectives (Cruz, 2019). This dynamic of continuous reconstruction of realities allowed us to observe that the potentialities of musical learning in bands go beyond classes and rehearsals. In addition to these moments endowed with pedagogical intention, we observed significant musical experiences in moments of rest through games and conversations, in addition to the intersection of such interactions outside the band's environment. Moreover, the point at which our research is found is to seek greater immersion in these moments that go beyond classes and rehearsals, also transposing the fact of the adoption of the daily repertoire of students in the band environment to unveil the dynamics of how students interact and experience their musical preferences, and how such dynamics can enhance the teaching of music in bands.

La marcha procesional es un género que dio sus primeros pasos en la Andalucía de la segunda mitad del siglo XIX y que ancla sus raíces tanto en las marchas fúnebres pertenecientes a obras cumbres del ámbito de la música como en marchas fúnebres para banda compuestas en esta época. Es a partir de la segunda mitad del siglo XIX cuando las bandas de música, civiles y militares, comienzan a acompañar de forma regular los desfiles procesionales de la Semana Santa andaluza, motivo por el que se inicia la composición de marchas dedicadas a hermandades y cofradías de distintos puntos de la geografía andaluza. Tanto es así que la marcha procesional es uno de los géneros musicales que más han proliferado y proliferan en los repertorios de las bandas de Andalucía. El presente capítulo tiene como objetivo establecer de forma rigurosa una revisión histórica sobre la marcha procesional en Andalucía desde 1856 hasta 1898. La metodología empleada se basa en la consulta y en la heurística de fuentes primarias y secundarias, con un enfoque meramente histórico.

Il Coro Popolare Operaio (1885) di Antonio Borgatti e Enrico Mori, scritto per la Società Operaia di Mutuo Soccorso di Bondeno. Nuova musica a cura di Alessandro Casali ed Enrico Scavo (2018).
______________________________________________________________________________

The Coro Popolare Operaio (1885) by Antonio Borgatti and Enrico Mori, written for the Society of Workers of Mutual Aid of Bondeno. New music by Alessandro Casali and Enrico Scavo (2018).

The first volume of the Publications of the Museum of Music “Nikolaos Halikiopoulos Mantzaros” consists of six essays by Kostas Kardamis, which either examine aspects of the history of the Corfu Philharmonic Society (CPS) or refer to people, who were related to the Society.
The first essay entitled “Corfu Philharmonic Society: An overview of its history” attempts to offer a documented approach regarding the conditions that led to the Society’s foundation in 1840, the ideas that formulated its organization according to the prototypes of the music academies of the era, as well as those priorities that ‘gave the tune’ to its perspectives and activities during 19th century. Moreover, it is demonstrated that CPS did not have as its sole aim the creation and maintenance of a wind-band, as it is widely believed. On the contrary, it is made obvious that its founders and organizers actually succeeded (at least during 19th century) in setting up a fully-functional, high-standard music academy, in which music theory (from the basics to composition), as well as wind, string and keyboard instruments and vocal music were taught. Thus CPS gave the earliest plausible (and maybe most successful) solution to the professional musical training in 19th-century Greece.
The diversity, importance and richness of the Society’s music archive is the subject of the second essay, “Ionian musical repertoire: The case of the Corfu Philharmonic Society’s music archive”. Ranging from late 18th-century until nowadays the archive keeps an important number of works by Ionian composers, as well as methods, programmes and “international” repertory (from opera to piano or chamber music, from wind-band repertory to diverse vocal compositions). All these allow, through a series of brief case studies, a revealing look into the development of musical creation, preferences and instruction during the last two centuries in Ionian Islands and often beyond them.
“An unknown obituary by Nikolaos Halikiopoulos Mantzaros (Niccolo Calichiopulo Manzaro) for Antonio Liberali” pays tribute to the first bandmaster of the Society’s band, who died prematurely in 1842. The extended commentary of the text presents several unknown aspects of Liberali’s activities, as documented by his teacher and Society’s artistic director, Nikolaos Mantzaros. Born in 1814 Liberalis was among the founding members of CPS and was appointed as its bandmaster only a few months before his death. This appointment, however, virtually eclipsed his life and activities before 1841. Mantzaros’s obituary reveals important information regarding, not only Liberali’s dedication to the causes of the Society, but foremost his earlier, unknown, qualities. Thus, Liberali is unveiled as one of Mantzaros’s earliest disciples (already during 1820s), a piano virtuoso, a competent flute player, a bandmaster in the “service of Her Britannic Majesty”, as well as a productive composer, who is also responsible for the earliest compositions of what was going to be later described as “national music” (L’orfano di Sulli, Corfu, 1837). Finally, Mantzaros’s text offers an insight of the music life and education of Ionian Islands during the first half of 19th century, as well as information for its writer.
“Greece and symphonism: Τhe case of Dionysios Rodotheatos through his symphonic poem Atalia (for wind band), 1879” is the only text in English of these miscellanea. Dionysios Rodotheatos (1849-1892), who was vice artistic director of PSC, is an obscure, though extremely important, figure of the late 19th century music in Greece. Apart from Corfu and Naples, Rodotheatos continued his studies in Milan during early 1870s, a move that facilitated his contact with the “beyond-the-Alps” music, as it was filtered, introduced and received in Italy at that time. Apart from operas and vocal music Rodotheatos composed symphonic works and was considered as the earliest symphonicist and a “prominent Wagnerian expert” in late-19th-century Greece. However, his two “poemi sinfonici” and his Rapsodie seems to have been composed before 1874 during his studies in Italy, a fact that possibly gives particular importance to these compositions also beyond Ionian Islands. The essay focuses on Rodotheatos’s 1879 wind-band arrangement of his symphonic poem Atalia and briefly presents the composition’s qualities, as well as the composer’s attempt to ‘import’ in Corfu the Italian symphonic genre of the period through the Society’s wind band. Finally, a possible explanation for Rodotheatos’s creative re-orientation roughly at the same time towards more simplistic and “Greco-centric” patriotic vocal compositions is proposed. After all, this creative change, despite being in complete contrast with the cosmopolitan character of his symphonic compositions, it had been already heralded in mid-1870s and it was perfectly justifiable within the conditions that started to prevail in the Ionian Islands’ after their annexation to Greece in 1864.
The essay entitled “‘Incriminating evidence; A book of music’. A bandsman of the Philharmonic is being accused” brings up, possibly for the first time, the so-called “minor protagonists” of music in Greece. The focal point of the text is a brief (and rather grotesque) legal adventure in 1849 of the Phiharmonic’s ophicleide player, Filippo Devari. Material from Corfu’s Magistrate’s Court complemented by other archival sources reveal, among others, several details regarding the organization and administration of the San Giacomo theatre, its personnel, the employment of certain CPS’s bandsmen in its orchestra, the governmental intervention in it and the educational and professional activities of the Society. Moreover, it offers a glimpse into the morality of the era, since Devari had been accused of possessing a score, which had in its frontispiece the words “Il bravo” and “serpan”. Both of these words were not considered from the spectators of the theatre’s first-row boxes (and Devari’s accusers) as, respectively, the title of the opera performed and the name of the bandsman’s instrument (as it would have been evident to any musician), but as references to “a murderer” and “the satan”. Devari’s case also allows an extended comment regarding the types of basses (serpents, “corni bassi”, “cimbassi”, valved or keyed ophicleides), which were (or could have been) used then in both CPS’s wind band and San Giacomo’s orchestra. It is in vain to deny that the writer’s tuba playing decisively contributed to this unofficial homage to the 19th-century bandsmen of the Ionian Islands, who dedicated themselves to the heavy (from every aspect) responsibilities of the bass line!
In February 2007 the 150th anniversary since the death of the Zakynthian poet Dionysios Solomos (1798-1857) offered the occasion for the writing of the last essay of the volume. On the very day of the poet’s passing the Administrative Board of the Philharmonic met in order to decide the ways that CPS would participate in the public mourning for Solomos and in his funeral the next day. The proceedings’ text, which is here presented for the first time, gives several information regarding the high estimation of CPS towards Solomos and his work, and offers a glimpse into the Society’s internal organization. Moreover, based on archival sources a further commentary regarding Solomos’s relations with CPS is presented, since even before the Society’s foundation the poet had close relations with several individuals of the Philharmonic’s administration (e.g., Nikolaos Mantzaros, Petros Vrailas-Armenis, Georgios Markorás) and teachers (e.g., Giuseppe Liberali, Spyridon Xyndas). Furthermore, Solomos was highly respected among CPS bandsmen, who frequently performed the music of his poetry’s settings. All the above are approached in relation to the social and political conditions of the period, since they coincide with both an era of particular movement in regard to the Ionian Island’s “question of national reinstatement”, as well as the aftermath of the Crimean War.

In assuming that the violin family of instruments is the staple of Western instrumental art music, Hautboisten, among the most important musicians of the seventeenth and eighteenth centuries, constitute a neglected area of research. Hautboisten are known to have been among the major suppliers of musical entertainment in the German-speaking lands in the first half of the eighteenth century. The term Hautboistenbande has often been translated by contemporary scholars as ‘oboe band’. Indeed, these ensembles developed into wind bands known as Harmoniemusik; Hautboisten, however, were originally routinely trained to perform on multiple wind instruments as well as string instruments.

The Lilien Partbooks, which are part of the Sonsfeld Collection (the Sonsfeldsche Musikalien Sammlung; now held in the Bibliotheca Fürstenbergiana in Herdringen; D-HRD Fü 3741a), represent the most comprehensive primary source of music for such an ensemble. A detailed incipit catalogue of the compositions compiled in these partbooks draws together our current knowledge of the Lilien Partbooks and of eighteenth-century Prussian Hautboisten. The extensive catalogue of the works collated in the six partbooks constitutes a valuable aid for future research.

This chapter examines music teaching and learning in the wind bands of the philharmonic societies on the island of Corfu. The eighteen philharmonic societies of the island offer music education for free to anyone interested. This mainly attracts children, who usually remain active members of the bands throughout their lives. Wind bands seem to add a great deal to the local cultural identity of the Corfiots and act as local community music centres. It suggests that music teaching, learning and identity within the wind bands of Corfu interact in many ways. Music education needs to be informed and empowered by the way music functions in the community as it may gain considerably when it acts in parity and interchangeably with local musical traditions and practices.

This book is the first monography about clarinet and wind music in Spain, studying the professionalisation of the Spanish clarinettists from the early 19th century. The social, academic and professional environment of wind musicians are addressed here through the case study of clarinettist, teacher, composer and deputy bandmaster in the MunicipalWind Band of Madrid, Miguel Yuste Moreno (1870-1947). An analysis and study of the national and international influences in the Spanish clarinet repertoire is offered here, especially, the premiere of Brahms’s chamber music for clarinet.

Investigates how the wind band genre has been adopted, radically reinvented, and imbued with new meanings by the Japanese. Wind band music only came to be popularized in Japan during recent generations, but the Tokyo Kosei Wind Orchestra is now regarded as the world's leading professional wind ensemble, and the All-Japan Band Association (AJBA) national contest has become the world's largest music competition, with nearly 500,000 contestants. The role of spirituality within Japanese wind bands is considered (from grade school through professional levels) in their mission (outreach activities), practices (rehearsal strategies), and repertoire (hybrid repertoire by Japanese composers).

Nicht jeder Musikverein darf auf 200 Jahre Bestand zuruckblicken. Die Stadtmusik Bern ist stolz, eine der altesten und noch bestehenden Blasmusikformationen der Schweiz zu sein – und dazu noch mit einer so vielgestaltigen und aussergewohnlichen Geschichte! Gestartet als Garnisonsmusik unter militarischer Pragung wandelte sie sich unter so grossen Namen wie Carl Friedemann und Stephan Jaeggi im 20. und 21. Jahrhundert zu einem modernen Blasorchester. Neben Einblicken in die 200 Jahre der Vereinsgeschichte werden drei aktuelle Herausforderungen besprochen, mit denen heute viele Musikvereine zu tun haben: die Probendisziplin, die ausreichende Versorgung mit finanziellen Mitteln und die bestandige Sorge um den musikalischen Nachwuchs. An illustrativen Episoden aus der Geschichte der Stadtmusik kann gezeigt werden, dass diese drei Problemkreise so alt sind wie der Verein selber. Schliesslich kommen auch Vorstands- und Aktivmitglieder zu Wort. In Form von Interviews geben sie Auskunft ube...