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Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T20:22:36Z (GMT). No. of bitstreams: 1 Abreu_AlexandreJosede_M.pdf: 3281072 bytes, checksum: 5500b7643758c917f2a8930d10890e1b (MD5) Previous issue date: 2010 / Resumo: A presente dissertação estuda a trajetória do maestro José Pedro de Sant?Anna Gomes (1834-1908), sua atividade como musico e regente na cidade de Campinas durante a segunda metade do século XIX, e sua importância para a atuação das bandas de música que se estabeleceram na cidade no mesmo período. A dissertação apresenta a inter-relação estabelecida entre o trabalho do maestro e a atividade das bandas, destacada pela larga esfera de atribuições do primeiro e a complexa extensão social da segunda. Fontes diversas foram utilizadas: relatos de cronistas, o repertório de Sant?Anna Gomes para a formação de bandas de música, além de dados referentes à atividade musical exercida na cidade de Campinas durante o século XIX. Primeiramente, o trabalho apresenta uma breve biografia do compositor e maestro Sant?Anna Gomes destacando aspectos representativos de sua atuação. Em seguida, o trabalho aborda assuntos relacionados à atividade das bandas na cidade, fazendo uma extensa análise de suas atribuições. Neste sentido, incluímos aspectos urbanísticos e sociais interpretados como mudanças que alteraram o caráter da cidade, assim como, destacamos os diversos segmentos sociais que contaram com a atividade das bandas. Por meio deste enfoque, sugerimos a importância do estabelecimento de um "gosto? comum, norteando o repertório das bandas e contribuindo para uma maior "permeabilidade? em meio a segmentos tão distintos. Finalmente, o trabalho apresenta as quatro obras originais de Sant?Anna Gomes para a formação de bandas: Valsa Club Campineiro, Quadrilha Club Semanal, Polka Sem Fim e Polka Filuta e estabelece sua importância dentro do momento histórico-cultural no qual se inserem. Como anexo, o trabalho inclui, igualmente, a edição das quatro obras apresentadas / Abstract: This dissertation aims at looking at the paths taken by conductor José Pedro de Sant?Anna Gomes (1834 - 1908); his activity as musician and conductor in the city of Campinas during the late nineteenth century, and at presenting the relevance of his work for the activity of music groups that were formed in the city during the same period. The investigation shows the inter-relationship established between the conductor?s work and the activities of the groups, highlighted by the wide scope of the former?s work, and the latter?s complex social environment. Several sources have been used: chronicles by travelling reporters, Sant?Anna Gomes?s repertoire for the formation of bands, besides data referring to the music activity in Campinas during the nineteenth century. In terms of organization, the paper first presents a brief biography of Sant?Anna Gomes underlining important aspects of his works. Secondly, this work focuses topics pertaining to band activities in the city, extensively analyzing several aspects. Here, we have included social and urban aspects that have been interpreted as relevant to the changes that the city underwent, as well as the several social sectors that had music bands. By following this line of thought, we suggest the importance of a common taste, directing the music band?s repertoire and contributing to greater "permeability? despite such different sectors. Lastly, this dissertation presents the four original pieces for band instrumentation by Sant?Anna Gomes: Valsa Club Campineiro, Quadrilha Club Semanal, Polka Sem Fim e Polka Filuta, and establishes their importance within the cultural-historical period in which they are set. As part of the appendix, the paper also includes the four pieces here studied / Mestrado / Mestre em Música

Paul Robert Fauchet's Symphonie pour Musique d'Harmonie, known in the United States as Symphony in B-flat, is a four-movement composition spanning nearly thirty minutes in length and written in the style of the late romantic composers. Despite its place as one of the first symphonies for wind band, a performance of the piece that represents the composer's 1926 orchestration is difficult due to the inclusion of instruments that are no longer in common practice, including bugles, alto horns, and saxhorns. Later American editions of the work by James Robert Gillette (1933) and Frank Campbell-Watson (1948/1949) replaced these instruments, but also took several other liberties with orchestration and voicing. The primary purpose of this study was the creation of a performance edition of the Symphony for modern wind band that is accessible to a larger audience of performers and listeners. The method involved in creating the modern edition eliminates errors of extant editions and clarifies a number of the discrepancies surrounding the symphony's multiple publications. This edition attempts to retain the composer's voicing and orchestration choices. To accomplish this, the present project considered where modern instrumentation differed from the original sources and attempted to balance timbral similarities between those instruments, while also considering ease of comprehension for a modern ensemble to perform the work. Sources used to create this edition included all published editions of scores and parts, as well as a newly created full score of the 1926 printed parts. The study concludes with the inclusion of the full score of the new performance edition.

The wind bands in Japan are considered by many scholars and wind band conductors to be among some of the finest ensembles in today's wind ensemble medium. The literature and repertoire of Japanese ensembles have evolved from orchestral transcriptions, patriotic music, and military marches to original compositions by European, American, and Japanese composers. British conductor Timothy Reynish states that Japanese wind band music has looked traditionally towards the United States and occasionally United Kingdom for inspiration and repertoire. This phenomenon can be attributed to the many collegiate American and the few English wind band conductors who traveled to Japan as guest conductors, and in some cases, became residents of Japan. The focus of this study is to closely examine this significant impact of American collegiate wind band conductors, their influence on Japanese programming and how that programming has affected the collegiate repertoire. This study includes surveys of repertoire, concert programs, discographies of recordings, and interviews with prominent American conductors currently conducting in Japan. This research documents the impact that American wind band conductors have had on the programming of Japanese wind bands and how their influence have altered the collegiate repertoire. Evidence of this impact is documented by Toshio Akiyama, who states that "The influence of visiting musicians from abroad must be measured as one of the most influential aspects affecting Japanese band growth. Although the effect of Japanese musicians traveling to the United States or Europe has been beneficial, the overall impact on large numbers of people has been more directly due to the visitors from abroad."

The first purpose of this study was to describe collegiate band members' preferred teacher interpersonal behaviors and perceptions of self-efficacy based on the gender, year in college, instrument, and major. The second purpose of the study was to measure the relationship between preferences of interpersonal teacher behavior and self-efficacy scores. The non-probability purposive sample (N = 1020) was composed of band members representing 12 universities from different regions of the United States. There were 4 large public, 4 small public, and 4 private universities that participated in the study. Participants completed 2 questionnaires, the Teacher Interaction Preference Questionnaire (TIPQ) and the Self-Efficacy Questionnaire (SEQ). Descriptive statistics were calculated for each of the questionnaires. Results for the TIPQ showed that all sub-groups most preferred the dominant-cooperative behaviors, followed by submissive-cooperative behaviors, and least preferred the dominant-oppositional behaviors. Results for the SEQ showed subtle variations for all subgroups. Three Pearson product-moment correlation coefficients were calculated to measure the relationship between the three teacher interaction styles (dominant-cooperative, submissive-cooperative, dominant-oppositional) and students' perceived self-efficacy. Due to the possible over-use of the data with multiple correlations, a Bonferroni adjustment was made to avoid a Type I error (.05/3 = .016). A significant positive relationship was found between self-efficacy and dominant-cooperative with 22% shared variance. A significant positive relationship was found between self-efficacy and submissive-cooperative with 7% shared variance. Finally, a significant positive relationship was found between self-efficacy and dominant-oppositional with 5% shared variance. This study's results indicate that it may be beneficial for band directors to measure students' preferences and perceptions of teacher interpersonal teacher behavior in order to find ways to interact better with the students. In addition, due to the relationship between students' preferences of teacher interpersonal behavior and perceived self-efficacy, collegiate band directors may wish to examine their own behaviors to determine how they align with the students' preferences.

The purpose of this treatise is not so much to discover heretofore unknown facts through original research; however, certain research is planned to assist in deleting the obvious handicaps one might encounter from using faulty instruments or mouthpieces, but rather to assemble under one cover practical data that may be of value in improving intonation in the band ensemble. Various definitions of terms will be established, purposes determined, opinion and methods of teachers evaluated, conclusions reached, and highlights of other persons’ experiments that may bear upon the subject will be presented.

The reasons given by thirty-three junior high school band directors for success and failure at the University Interscholastic League Concert/Sightreading Contest were studied using the methodology of Attribution Theory. All of the subjects attended the same contest and were members of a region which included urban and suburban schools. The subjects responded to a questionnaire which evaluated their attitudes towards the contest, allowed them to make judgments about other directors in hypothetical contest situations, and finally asked them to list the five most important reasons for their success or failure at the contest in an open-response format.

The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately 155 bands and 2,400 bandsmen in the service of the Confederate armies. Forty bands surrendered at Appomattox and many others not listed on final muster rolls were found to have served through the war. While most Confederate musicians and bandsmen were white, many black musicians were regularly enlisted soldiers who provided the same services. A chapter is devoted to the contributions of black Confederate musicians.