Thesis (Ph. D.)--Open University. BLDSC no. DX92093. / 2 volumes.

Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2004. / "A thesis in music history and literature." Typescript. Advisor: William Everett. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 104-108). Online version of the print edition.

Since the 1980s, British-style brass bands - community ensembles modeled after the all-brass and percussion bands of Great Britain - have enjoyed a modest regeneration in the United States. During this same period, as many as 23 colleges and universities in the U.S. have founded their own curricular or extra-curricular brass band. The purpose of this research study was: to discover which schools sponsor a brass band currently; to discover which schools formerly sponsored a brass band but have since discontinued it; to describe the operational practices of collegiate brass bands in the U.S.; and to determine what collegiate brass band conductors perceive to be the challenges and benefits of brass band in the curriculum. Data for the study were collected between February, 2015 and February, 2016 using four custom survey instruments distributed to conductors of college and university brass bands. The results showed that 11 American collegiate institutions were sponsoring a brass band during the period of data collection. Additional findings included descriptions of the operations of collegiate brass bands, such as availability of credit, rehearsal time, and instrumentation. Results also included the conductors' reported perceptions that both challenges and benefits are inherent in student brass band participation, and that brass band is a positive experience for students. An additional 3 community-based brass bands, not sponsored by but located near a college or university, were found to include collegiate students among their player personnel. A total of 9 schools formerly sponsoring brass bands were found to have discontinued their program. A repertoire analysis of 733 titles of compositions performed by both active and formerly active brass bands revealed that bands performed original works for brass band nearly as often as transcribed or arranged works.

This thesis presents research into the history and contemporary context of brass bands in the Scottish Borders. It discusses how the survival of the brass bands in the Scottish Borders can be accounted for over the last 150 years, in particular with regard to the continuity of their interaction with the community which has enabled them to overcome cultural, social and demographic changes. The textile industry which provided a stimulus for the formation of the brass bands in the nineteenth century has largely disappeared, but the traditional role of the bands has been carried forward to the present day. Previous study of the social and cultural history of the brass band movement has concentrated on the history of brass banding in the North of England. Although research into the history of brass bands has been carried out in other areas of Britain such as the South of England this is the first in-depth study of these bands in a region of Scotland. This research follows previous studies of amateur music-making in specific locations by studying in detail the brass bands that exist in seven towns and one village of the Scottish Borders where the bands can date their formation to the mid-nineteenth century. Historical and archival research has provided most of the data relating to the first hundred years, including the use of individual band archives, local newspaper archives and museum records. Ethnographic methods, including interviews and participant observation, have provided the data for more recent times. Details of brass band repertoires have been extracted from various sources including musical examples taken from individual band libraries. A central research finding is the strong relationship of the brass bands with their local communities, particularly the support given to the bands by local people and the way in which the bands support their communities by providing music for civic and community events. The close relationship of the brass bands with their local communities has been fundamental in providing the means by which the bands have been sustained over time. There is a strong Scottish Borders identity that links the towns, especially through family ties, and this is also found in a musical repertoire with songs that are specifically connected to the region and to individual towns. By playing this music for civic and community events, especially at the time for the Common Ridings which are annual events unique to the Scottish Borders, the brass bands have provided a service to the community which has ensured their survival.

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).

Treatise (D.M.A.)--University of Texas at Austin, 2004. / Supervisors: Andrew Dell'Antonio and Ray Sasaki. Vita. Includes bibliographical references. Also available from UMI.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa tem como objetivo geral compreender a constituição - o como se dá ou se organiza - do ensino/aprendizagem musical a partir das relações sociais que ocorrem no espaço da banda Corporação Musical Nossa Senhora do Carmo, da cidade de Arcos-MG. Para isso foi usado o recorte temporal de 1985 até 2014. Como objetivos específicos, tem-se: entender as relações sociais e de que forma elas subsidiam o processo de ensino/aprendizagem de música; discutir as relações de ensino/aprendizagem musical, que são constituídas na Banda a partir do processo de sociabilidade; analisar a convivência no espaço da Banda e entender de que forma os laços estabelecidos entre os componentes estão presentes no processo de formação de músicos; e identificar como se constituem as sociabilidades formadas a partir dos processos de ensino/aprendizagem musical nesse espaço. É uma pesquisa qualitativa (DENZIN; LINCOLN, 2006; HESSEBIBER; 2006), que utiliza como método a História Oral (LEAVY, 2011; MEIHY, 2000) e como procedimentos de coleta de dados fontes orais (entrevistas), escritas (artigos de jornais) e iconográficas (fotografias). Tem como fundamentos teóricos a educação musical enquanto prática social (GONÇALVES, 2007; SOUZA, 2004), que não existe por si mesma e depende de pessoas e grupos, os quais produzem ensinam/aprendem música e estão juntos por vários interesses, constituindo formas de sociabilidades pedagógico-musicais (RIEDEL, 1964; GURVITCH, 1941) como principal explicação para quererem estar juntos e se sujeitarem a aprender/ensinar música, seja pela integração e/ou pela participação em um grupo. Concluiu-se que na Banda as relações sociais estabelecidas se estendem para fora do espaço da Banda e fazem com que pessoas queiram aprender música, às vezes nem sempre pela música, mas por quererem estar juntas. Estes momentos de ensino/aprendizagem que formam músicos profissionais e pessoas que têm interesse em aprender música, tocar um instrumento musical, estão imersos em vários tipos de relações pedagógico-musicais. / This research aims to understand the constitution of the teaching-learning process in music from the social relationships that occur within the brass band, namely Corporação Musical Nossa Senhora do Carmo, from the city of Arcos, MG, during the period of 1985 to 2014. This study intends to understand the social relations and the ways in which they subsidize the teaching-learning process in music; discuss the relations around the teaching /learning process of music which are constituted within the band in terms of sociability; analyze the coexistence within the band and understand how the links established between the members are present in the training of musicians and identify how sociability is constituted through the process of teaching and learning music in that context. It is a qualitative research (DENZIN; LINCOLN, 2006; HESSE-BIBER, 2006) that uses the methodology of Oral History (LEAVY, 2011; MEIHY, 2000) and the collection of data by means of oral sources (interviews), in the written form (newspapers articles), and those which are iconographic (photographs). The theoretical foundations are based upon music education as a social practice (GONÇALVES, 2007; SOUZA, 2004) which does not exist by itself and depends on people and groups that produce, teach and learn music and who mingle for various reasons, constituting forms of sociability in music education (RIEDEL, 1964; GURVITCH, 1941) as the main reason to get together and/or form a band. As a conclusion, the social relations go beyond the scope of the band and make people want to learn music, not necessarily because of the music itself, but due to the sociability that it involves. the teaching-learning impetus of professional musicians, as well as people who are interested in learning music and who wish to play a musical instrument leads such people to be immersed in various pedagogical and musical relationships. / Dissertação (Mestrado)