Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 27, 2007) Vita. Includes bibliographical references.

I have chosen to be assessed as an interpreter and conductor of New Music for British Brass Band. This critical evaluation represents a summary of my work on the four required projects of the DMA course, in which I hope to demonstrate a high level of creative interpretation. This evaluation will also demonstrate my ability to show original insights into certain musical works and formulate sound critical judgments in order to elicit performances which have been critically acclaimed by my peers within this chosen medium. Project One aims to demonstrate a capacity for producing perceptive and imaginative musical interpretations in preparing and conducting the first commercial recording of brass music of Arthur Butterworth (DOYCD130). As will be argued elsewhere, Butterworth is a nationally recognized figure with a wide range of musical publications, and this recording includes four world premiere recordings of the composer's work and a new commission, Sinfonia Concertante. Project Two is a further CD recording entitled The Brass Music of Michael Ball 1 (DOYCD135). This presents a programme of highly crafted pieces of the composer's wide style and approach. There are five world premiere recordings which offer new insights into the composer's work as well as new interpretations of his work in fine performances. This project also includes an examination of a new work, A Cambrian Suite, jointly commissioned by the Black Dyke Band and the Brass Band Heritage Trust, first performed at the Royal Concert Hall at the RNCM on the 18th February as part of the Festival of Brass 2002. Project Three consists of two live recordings, produced digitally, and stored on single Compact Discs. The two works Sinfonia Concertante Arthur Butterworth and Atlantic Philip Wilby were premiered respectively at the Harrogate International Music Festival, July 28 th 2001 and The Festival of Brass January 18th 2002. Both these composers enjoy high status as nationally recognised composers, and their premiere performances offer significant first insights into the works in question. I would argue that this demonstrates a capacity for eliciting imaginative musical interpretations from a highly talented group of musicians. During my DMA registration I have performed ten world premieres: Masque, Danceries, and Alchymist's Journal by Kenneth Hesketh., Sinfonia Concertante Opus 111 by Arthur Butterworth, Atlantic and Concerto 1945 by Philip Wilby, Call of the Cossacks by Peter Graham, The Sword and the Crown by Edward Gregson, A Cambrian Suite by Michael Ball and Trombone Concerto by Martin Ellerby. This range of performances displays my commitment to developing the repertoire of the Brass Band Movement. I have also undertaken eight studio recording projects, The Eternal Quest QPRL 21 ID, The Essential Dyke Vol. Ill DOYCD121, Spectacular Classics Vol. IIOBR876, The Music of Arthur Butterworth DOYCD130, The Music of Michael Ball DOYCD135, Black Dyke Plays Verdi OBR883, The Heaton Collection SP&S100, Call of the Cossacks DOYCDI38. These projects represent an endeavour to unveil and demonstrate the level of expertise and flexibility available in the current British Brass Band movement, which draws its influences from sources as diverse as Classical, Contemporary, Popular, and World Musics. Project Four A public performance will be given by the Black Dyke Band conducted by myself as part of the National Brass Band Championship of Great Britain, in the Royal Albert Hall on 19 th October 2002. This will give the examiners the opportunity to judge my abilities for themselves.

This is research on the New Orleans Brass Band tradition. How popular music has influenced the bands repertoire and the style of music has been transferred to other areas of the country resulting in the formation of hybrid bands. Madison, Wisconsin is an area with two popular brass bands that began by studying the New Orleans brass bands' culture and music. Those bands are Mama Digdown's Brass Band and Youngblood Brass Band. Mama Digdown's is a brass band that performs original music in the traditional styles and forms of New Orleans brass band. Youngblood Brass Band started because Mama Digdown's inspired them and began playing shows with Digdown's and eventually broke away to form their own band. They wanted to push the limits of the New Orleans brass band instrumentation by incorporating hip-hop, rap, jazz, 1980's pop music, rock, and heavy metal that is rolled up into an intense brass sound.

Master of Music / Department of Music, Theatre, and Dance / Frank C. Tracz / This report possesses a detailed analysis of three works, two works for concert band and one for brass ensemble. The works included in this report are Fanfare Héroïque (1944) by Eugéne Bozza, Symphonic Sketch (1994) by Charles Carter, and Tempered Steel 2nd ed. (1997 and 2008) by Charles Rochester Young. Also included in this report is performance information about the pieces above, the author’s thoughts about the role of music education in the American school system, and a section that discusses quality literature for concert ensembles. It is the author's hope that some of this information is used to aid teachers in their study of these works in order to be more effective in the classroom. In order to facilitate this, each analysis includes biographical information about the composer, historical information about the composition, technical information, musical information, an analysis of form, and sample lesson plans with reflections.

Thesis (ED.D.)--Teachers College, Columbia University, 1965. / Typescript; issued also on microfilm. Sponsor: Ernest E. Harris. Dissertation Committee: Charles W. Walton. Includes bibliographical references (leaves 244-254).

No description available.

This project examines source materials, methods, and instruments required for creating an informed period performance of military brass band music from the American Civil War. The rapid development of brass bands in America combined with the volatility of the war meant that much of the development of these styles were not formally documented. To compound this problem an instrumentalist trained on modern instruments who plays on an instrument from the period will produce a sound highly colored and influenced by their sound concept on a modern instrument. Experience with the instrument and attention to their idiosyncrasies will offer the closest possible sound to bands in the Civil War era. This project examines primary musical sources as well as considerations on how to properly approach a period performance of brass band music of this era. Central to this examination is the author's training and experience as a member of the Civil War period performance ensemble Saxton's Cornet Band.

The brass band and wind band had similar repertoires in the nineteenth and early twentieth centuries with marches, dances, solos, and transcriptions written prominently for both ensembles. The repertoires diverged at the beginning of the twentieth century as brass band contests commissioned new and original works and international composers began writing serious works for wind band. In the 1970s, British composer Philip Sparke succeeded in writing music for both ensembles and subsequently began to create a shared repertoire, and other composers started contributing to this repertoire. As this repertoire has proliferated, much of it has become worthy of serious study. The purpose of the current study is to find shared scoring tendencies between three transcriptions: one written by the original composer; a second transcribed by a different composer; and a third transcribed by both the original composer and a different composer. The works selected were The Year of the Dragon by Philip Sparke (transcribed by the composer), Variations for Brass Band by Ralph Vaughan Williams (transcribed by Donald Hunsberger), and Call of the Cossacks by Peter Graham (transcribed by the composer and Mick Dowrick). There were several effective instrumentation choices the works shared, including woodwind prominence in solo and lyrical passages, double reeds substituting for small brass ensembles, and high woodwinds written one or more octaves above the original. Adapting these choices, the author created a transcription of Gypsy Dream, the second movement of Call of the Cossacks. Further, these commonalities can serve as guidelines for other transcribers to arrange brass band works for wind band and expand this shared repertoire.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-11-04T20:07:25Z No. of bitstreams: 2 Dissertação - Francinaldo Rodrigues da Silva - 2014.pdf: 7637692 bytes, checksum: 06fd3fca0b1795bede4b60f2cbeef94a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-11-05T09:17:32Z (GMT) No. of bitstreams: 2 Dissertação - Francinaldo Rodrigues da Silva - 2014.pdf: 7637692 bytes, checksum: 06fd3fca0b1795bede4b60f2cbeef94a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-11-05T09:17:32Z (GMT). No. of bitstreams: 2 Dissertação - Francinaldo Rodrigues da Silva - 2014.pdf: 7637692 bytes, checksum: 06fd3fca0b1795bede4b60f2cbeef94a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-03-31 / The bands are an important area of musical learning. There are many perspectives of education involved in them: instrumental teaching in group and individual, musical theory lessons, music theory, martialness and discipline. The brass bands have an active participation in Brazilian communities. They play in public ceremonies, civic and military parades, religious festival, and many others different events. Taking Part of a band gives to the members a kind of learning that goes beyound playing an instrument. With a view to these bands particularities this study was developed by taking two martial bands of the city of Aparecida de Goiania/GO, in order to inquire how the bands contribute to the musical and social process of the students whom participate. The research includes both qualitative and quantitative datas. In order to obtain meaniful results toarch, the study was achieved by literature review, direct observation of theoretical lessons, rehearsals and select bands performances. It was applied questionnaires to these groups of students who take part in these bands. And for teachers, teachers’ aides, group manager of the institutions in which the bands belongs to were performed semistructured interviews. In answer to the questionnaires and interviews were collected datas which support the objectives of this research. / As bandas constituem um espaço importante de aprendizagem musical. Nelas estão envolvidas muitas perspectivas de ensino: ensino de instrumento individual e coletivo, aulas de teoria musical, marcialidade e disciplina. As bandas de música tem uma participação ativa nas comunidades brasileiras, se apresentando em solenidades públicas, desfiles cívico-militar, festas religiosas e eventos culturais de natureza diversa. Fazer parte de uma banda proporciona aos integrantes aprendizados que vão além do tocar um instrumento. Com vistas a estas peculiaridades das bandas, esta pesquisa foi desenvolvida tomando duas bandas marciais da cidade de Aparecida de Goiânia/GO, com o objetivo de averiguar de que forma as bandas de música contribuem para o processo musical e social dos alunos que dela participam. A pesquisa é de natureza qualitativa e quantitativa. Visando obter resultados significativos para a análise dessa pesquisa, o trabalho foi realizado a partir de revisão de literatura, observação direta das aulas teóricas, dos ensaios e das apresentações das bandas selecionadas. Foram aplicados questionários para os alunos participantes dessas bandas. Para os maestros, professores auxiliares, grupo gestor das instituições que cediam as bandas foram realizadas entrevistas semiestruturadas. Nas respostas obtidas aos questionários e entrevistas foram colhidos dados que corroboram com os objetivos dessa pesquisa.

The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel's Music for Flute with Tenor Tuba Obbligato (1995) and Karl Jenkins' Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice.