The following chapters concern the development of bands of musical wind instruments in Europe and America. These groups may be most conveniently divided into two main classes of bands, military and civilian. Military bands may be defined as those organizations directly under governmental or army rule. This large class of bands includes: brigade bands, regimental bands, post bands and service bands. Brigade bands in early English history comprised two or more regimental bands, each regiment maintaining several bands. These groups were also popular in colonial America. In turn, each regiment of the military (army) had units of companies including troops, batteries, or cavalries. The units were authorized to maintain bands in their respective companies; fife and drum bands were also included. Certain bands of these companies were stationed permanently at military headquarters; these are referred to as post bands. In this country an increase in the number of regular army bands (infantry, cavalry, and artillery) has been marked since the latter part of the nineteenth century. These army bands and those of other branches (navy, marine corps, air force, coast guard, etc.) are included under the general name of service bands. The second main class includes a large group of civilian bands. As the name implies, the organizations are composed of civilians and are independent of the military groups. This class includes: circus bands, fraternal bands, industrial bands, organized militia bands, professional bands, school bands, and town or independent bands. The militia bands were bodies of citizens enrolled as military forces for a period of instruction; they were not called into active service except in an emergency. These other civilian, groups perform for civic functions, ceremonies, etc. History shows that the civilian bands have imitated the military bands in instrumentation and repertoire. It is quite apparent that the original army or military band gave rise to the origin of the civilian type of band. Today it is quite common to refer to a civic group as a "military" band, the term actually meaning the size of instrumentation rather than the personnel. Other terms describing instrumentation are "concert" and "symphonic" which may apply to either of the two main classes of bands.

abstract: Throughout western clarinet art music, there are not only a large number of great performers and classical works, but also a valuable body of literature that has laid a solid foundation for clarinet development and global dispersion. By contrast, Chinese clarinet literature is lacking in quantity and global distribution. However, this is the first comprehensive study that discloses the mysterious mask of China’s clarinet art. This study does not merely discuss the Chinese clarinet history, but it also introduces important historical events that influenced the development of the Chinese clarinet industry (excluding manufacturing), including Chinese military bands, clarinet music, pedagogy, clarinet figures, and its future direction. In the conclusion of this paper, the author discusses the deficiency of the Chinese clarinet industry and makes suggestions for solving problems with clarinet players practicing more technique rather than focusing on musicianship, educators’ lack of concentration on teaching and academic research, and the shortage of Chinese clarinet works. Additionally, the author appeals to Chinese clarinet players to actively participate in international activities and the Chinese government to increase incentives to introduce high-level Chinese talents overseas to help make China a better country in any field. / Dissertation/Thesis / Theme and Variations_Shuang Zhu / The Song of Grazing Horses_Shuang Zhu / The Sound of Pamir I_Shuang Zhu / The Sound of Pamir II_Shuang Zhu / The Sound of Pamir III_Shuang Zhu / Doctoral Dissertation Music 2017

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abstract: The 14th Army Band of the Women’s Army Corps (WAC) occupied a unique role as the longest activated all-female military band unit in the United States. Carrying forth the lineage of the 400th Army Service Forces Band, which was the first of five all-female WAC bands organized during World War II, the ensemble was reconstituted and activated as the 14th Army Band (WAC) on August 16, 1948 at Fort George G. Meade, Maryland. After six months of training, the band was relocated first to Fort Lee, Virginia on March 5, 1949, and then to Fort McClellan, Alabama on August 5, 1954. Operating under the command of twelve female officers and three enlisted band leaders during its history, the 14th Army Band (WAC) performed extensively throughout the United States while simultaneously providing musical support for military and civilian functions at its home duty stations. Able to advantageously promote the novelty of its uniqueness as an all-female ensemble to attain celebrity-like exposure, the band impressed audiences with its high level of musical proficiency, entertaining versatility, and military professionalism. To document women’s roles as instrumental musicians and to fill gaps in American band and music education histories, this study examines the organizational developments, key leaders, musical training, repertoire, and mission-related activities of the 14th Army Band (WAC) from the time it arrived at Fort Lee in 1949 until its final performance at Fort McClellan on May 14, 1976. Prior to World War II, females were not permitted to participate in military bands in America. The women of the 14th Army Band (WAC) proved, however, that they were more than capable of fulfilling the Army’s musical mission, and as role models, they paved the way for the participation of all females in American military bands today. / Dissertation/Thesis / Doctoral Dissertation Music Education 2015

This doctoral dissertation compares three types of military institutions of performing arts-military bands, military theatres and military artistic ensembles in cases of Czechoslovakia, German Democratic Republic and Poland since World War II to the fall of communism. Powered by TCPDF (www.tcpdf.org)

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.