Our Music / Our World. Wind Bands and Social Life (2024)

Related Papers

The Repertoire and the Wind Band

2022 •

Luciano Pereira

The Repertoire and the Wind Band: The repertoire as a tool for artistic development aims to study the relationship between the repertoire used through history and the evolution of the northern Portuguese wind band in terms of technical, musical, and artistic development. With that in mind, it pretends to give insight into the repertoire practice and how it is used to maximize the artistic evolution instead of being only its product. The intention is to point to a clear and grounded path for using the repertoire practice as a development tool. The wind band movement in Portugal has a robust implementation in its social background. One of the most critical aspects of this movement is the need and will for technical and artistic improvement, resulting in an intense rivalry between these groups. Portuguese community wind bands try to achieve their best, using the repertoire and its performance to define and state the artistic level of the group itself. This thesis pretends to understand the role of the repertoire practice in the community wind band artistic development while looking at the musician's motivation, work, training, and involvement in the overall evolution process. The use of the Banda Musical de Loivos as a case study intends to understand the specificities of the wind band movement in northern Portugal and, more specifically, in the Trás-os-Montes region. To define the performative and repertoire practices as a starting point for the acquaintance of the repertoire potential as a decisive agent of the group artistic development, taking into account the characteristic heterogeneity concerning age, level of training, and artistic development of the musicians who are part of these groups. Through the deep analysis of the social and historical background, the specificities and idiosyncrasies of these phenomena give an inner look to those groups' artistic context and performative practices. It defines a series of guidelines for the repertoire choice and definition, using the social and historical background criteria. Using the repertoire practice to establish performative objectives will help maximize the implementation of new work methods, develop the usual ones, and improve the artistic development process of the community wind band. Besides this, it will contribute to the integral and significant development of the community wind band while expanding the artistic references of all those involved in this movement.

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Perspectives from a changing culture: one hundred years of debate on the role of musical instruments

2015 •

Gabriele Rossi Rognoni

These three powerful quotations, spanning over a period of a hundred years, epitomise effectively the extremes of current perceptions on the topic of our two-day conference: although their original assumptions and conclusions are quite contrasting, they generally agree on the fact that usage plays a key role – vital or deadly as it may be – on the ‘life’ of musical instruments. But can there be such contrasting claims from equally authoritative sources, and do we have sufficient information to responsibly dismiss one or the other as ill-informed phantasy?

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Three Recitals of Repertoire for Wind Ensembles

2020 •

Giovani Briguente

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Empirical Musicology Review

An Exploratory Study of Western Orchestration: Patterns through History

David Huron

Changes in instrument combination patterns in Western classical orchestral music are traced over a three hundred year period from 1701 to 2000. Using a stratified sample of sonorities from 180 orchestral works by 147 composers, various empirical analyses are reported. These include analyses of instrumentation presence, instrument usage, ensemble size, common instrument combinations, instrument clusterings, and their changes over time. In addition, the study reports associations of different instruments with various dynamic levels, different tempos, pitch class doublings, affinities between instruments and chord factors, as well as interactions between pitch, dynamics, and tempo. Results affirm many common intuitions and historical observations regarding orchestration, but also reveal a number of previously unrecognized patterns of instrument use.

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2017 •

Christoph Reuter

Reuter, Christoph: Commentary on "An Exploratory Study of Western Orchestration: Patterns through History" by S.H. Chon, D. Huron, & D. DeVlieger. In: Empirical Musicology Review 12(3-4), 2017, p. 160-171. (DOI: http://dx.doi.org/10.18061/emr.v12i3-4.5992) This commentary discusses the exploratory study by Chon, Huron and DeVlieger about the usage and combinations of musical instruments in orchestral works between 1700 and 2000 under the perspective of the evolution of the musical instruments in that time, their acoustical and social aspects as well as recommendations in orchestration treatises of the last 300 years. ORCHESTRATION and its history is a very complex issue. Based on 1800 score excerpts sampled from 180 orchestral works from the time between 1701 and 2000 (separated into 50-year periods) Chon, Huron and DeVlieger draw a big picture of 300 years of western orchestration. Of course, the authors know about the many possible drawbacks and shortcomings of such an endeavor (and discuss them on several places in their work very closely and prudently). The results of their exploratory study are enlightening and inspiring in many aspects (see below); and possibly a few further points can be taken into consideration: METHOD: SAMPLED COMPOSERS, WORKS AND SONORITIES It is difficult to estimate the importance, the typicality or the value of a composer or a musical work, and it is understandable that the authors found orientation in two modern classical music guides (Jolly, 2012 and Dubal, 2002) as well as in the Wikipedia list of classical composers. Of course, one has to start somewhere. However, when looking at a period of 300 years consisting of different and changing epochs, styles, preferences etc. one has to keep in mind that the importance and value of a certain composer is not stable over time. Looking for example into the Leipziger Allgemeine Musikalische Zeitung of October 1799 one can find a copper engraving made by A.F.C. Kollmann on column 104 (see Figure 1), which gives a clear picture of the importance of certain composers as perceived in the second half of the 18th century. Here J.S. Bach is symbolized as a sun in the middle, surrounded by Haydn, Händel and Graun, while e.g. Mozart is seen more in the edge at a lower category same as Kozeluch, Pleyel or Reichard. It is imaginable that the selection of composers (and works) would be different when choosing them by the appraisal of contemporary authors instead of from a somehow anachronistic perspective. Similar considerations could be taken into account regarding the selection of the musical works (by reference to the number of performances in a certain time period one could estimate the importance of a musical piece at that time).

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In-Depth Analysis And Program Notes For A Selection Of Wind Band Music

2013 •

Miles Wurster

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Alta Musica, Kongressbericht 2014 Hammelbug

“The Banda Municipal de Música de Madrid (The Municipal Band of Madrid) 1909-1931: A New Employment Opportunity to Professional Wind Musicians in Spain”

2016 •

Gloria A. Rodriguez-Lorenzo

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Art and Research – Contemporary Challenges

A Contemporary Approach to Music Instrumentation

Dan Spînu

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A world bursting with orchestras: Keeping the mission beyond Venezuela

Armando Torres Chibrás

In the last decade, the discussion on the subject of providing access to music making in the Western tradition has seen the emergence on the international stage of an endeavor coming out from one of the most unexpected places in the planet. This movement has been gaining worldwide recognition for its amazing social and artistic results based in a philosophy that challenges the traditional paradigms of countries considered the illustrious cradle of Western art music. Almost everyone in the music field knows the story of Dr. Jose Antonio Abreu and the founding of the worldwide celebrated pioneering program known as El Sistema.El Sistema has gained worldwide recognition because it has not only helped improve families, communities, and towns in Venezuela, but it has also awakened the interest of the whole planet and inspired hundreds of replicas in more than 30 countries .We find replicas of El Sistema in almost all continents and new initiatives that are emerging constantly.

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Proceedings 3rd International Conference. Business Meets Technology

The International Wind Band Contest «City of Valencia» as historical and cultural heritage: analysis of the innovative performed repertoire from the tuba chair

2021 •

José Pascual Hernández Farinós

The role that composers have granted to the tuba within their works for symphonic wind band has undergone a great evolution since the end of the last century, which is reflected in a greater presence of solos and other outstanding excerpts for this instrument. This article aims to make a first approach to the bulk of symphonic wind band repertoire from the part of the tuba, with the aim of searching, selecting and analysing the most outstanding excerpts, and presenting an innovated proposal compilation. Since this work belongs to a larger research, it establishes a beginning from the study of the composers and their most performed works in a special event which represents a milestone in the Valencian musical culture: the International Wind Band Contest «City of Valencia».

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