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Musical Performance in the Canadian Military

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Musical Performance in the Canadian Military MUSICAL PERFORMANCE IN THE CANADIAN MILITARY: A PRELIMINARY ANALYSIS OF AN INSTITUTION by Lucie Alaimo A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario August 15, 2011 2011, Lucie Alaimo Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre rGf&rence ISBN: 978-0-494-83142-7 Our file Notre reference ISBN: 978-0-494-83142-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada Abstract The performance of military bands has been a tradition in Canada since they were brought over by the British in the mid-eighteenth century. During the following two centuries, Canadian military bands have changed in terms of numbers, band composition, type of music performed, drill etc., but are still closely rooted in their British traditions. One of the greatest challenges that those involved with military music performance have faced arises from principles embedded in military musical performance itself. As part of the Canadian Forces (CF), military bands maintain certain values, including those of discipline and organization, both of which are displayed through military drill. However, while military bands are obliged to present a certain level of military discipline, they— like non-military ensembles—must uphold standards of musical skill, creativity and expression, while providing entertainment value for the audience. What has resulted is an amalgam of musical performances, comprised of disciplined military drill and music on the one hand and creative drill routines and a variety of entertaining musical styles on the other. This has allowed CF bands to retain the old military music traditions and to attract public interest in order to continue their roles as ambassadors of the CF and as morale boosters. n To my family in Table of Contents List of Illustrations vi Acknowledgements vii Introduction 1 Chapter 1: A Historical Overview of Military Bands in Canada Great Britain 13 Early Bands in Canada 14 World War One 19 Interwar Years 21 World War Two 24 Female Military Bands in the Second World War 27 Post-WorldWarTwotol967 30 1968-1990 34 1990-Present 38 Chapter 2: Musical Discipline through Drill and Performance 44 Physical Gestures in Military Music Performance 57 History of Drill Routines 60 Examples of Drill Routines 64 Naval Routine 64 With Sword and Lance 66 Chapter 3: The Military Tattoo 71 Origins 71 Early Tattoos in Canada 73 The Nova Scotia Tattoo 75 Programming of Individual (Non-Massed Band) Scenes at the Nova ScotiaTattoo 78 Music 78 Visual Elements 82 Bears on Parade 84 Mixed Scenes 86 Ceremonial Component: Finale 89 IV Conclusion 92 Appendices 100 A: Glossary 100 B: Authorized CF Bands 103 C: Other Major Tattoos in Canada 105 D: Interviews 107 Bibliography 110 v List of Illustrations Figures Figure 1. Concert programme, Brockville and Ottawa Railway Volunteer Artillery Band, August 1, 1873 16 Figure 2. Concert programme, GGFG, Ottawa, March 14, 1888 16 Figure 3. Concert programme, 85th Overseas Battalion, Nova Scotia, February 29-March 20, 1916 21 Figure 4. Concert programme, GGFG, Ottawa, June 4, 1922 23 Figure 5. Concert programme, RCR Band, Pittsburgh, PA, 1960 33 Figure 6. Diagram demonstrating "Shoulder arms from the order" 47 Figure 7. Diagram demonstrating piccolo, flute and fife positions 49 Figure 8. Diagram demonstrating bass drum positions 50 Figure 9. Diagram of a "Spiral Countermarch" 53 Figure 10. Drum Major's Halt Signal 54 Figure 11. Drum Major's "Spiral Countermarch Signal" 55 Figure 12. Fortissimo, Parliament Hill, Ottawa. August 2010 56 Figure 13. HMCS York band, circa 1985. Toronto 59 Figure 14. Programme, Nova Scotia Tattoo, Metro Centre, Halifax, Nova Scotia, 1979 76-77 Figure 15. Programme, Nova Scotia Tattoo, Metro Centre, Halifax, Nova Scotia, 2010 79-80 Figure 16. Brief Historical Summary of the Number of Canadian Military Bands 96 vi Acknowledgements I would like to thank the following people for their historical information, resources, insights and ongoing support: James Milne, Fraser Clark, Jack Kopstein, Jim Forde, Leah Whitehead, the Royal Nova Scotia International Tattoo, Raymond Murray, Wayne Warford, the Stadacona Band, Heather Davis, Luther Chang, HMCS York, Stanley Clark, Walter Kemp, Robert Davis, Rebecca McGuire, Colin Dean, James Deaville and the Carleton University music faculty. vn Musical Performance in the Canadian Military: A Preliminary Analysis of an Institution Introduction The performance of military bands has been a tradition in Canada since they were brought over by the British in the mid-eighteenth century. The role of these bands has been to boost morale amongst the troops and to act as ambassadors of the Canadian militia to the Canadian public. Following the British model for military bands during this period, Canadian bands have performed for parades, mess dinners, military ceremonies and public concerts.1 During the following two centuries, Canadian military bands have changed in terms of numbers, band composition, type of music performed, drill etc., but they are still closely rooted in these traditions. Over the decades the repertoire and venues began to vary, but the core repertoire remained intact because of the importance of ceremonial practices and traditions in the military. The Canadian Forces (CF) believes that knowing Canada's military heritage and traditions reinforces the profession by valuing and commemorating its history and accomplishments and enhances cohesion and esprit de corps to sustain Canadian military professionalism.2 In keeping with this philosophy, military bands continue to engage in what has become its core repertoire of calls, salutes, anthems, marches and hymns for performance in ceremonies. As part of the CF, military bands maintain certain values, including those of discipline and organization, both of which are displayed through military drill. The practice of drill stems ijack Kopstein and Ian Pearson, The Heritage of Canadian Military Music (St. Catharines: Vanwell Publishing, 2002), 19. 2 Duty with Honour: The Profession of Arms in Canada, A-PA-005-000/AP-001 (Canadian Forces Leadership Institute, 2009), 60. 2 from the idea that if one can discipline his or her own body, he or she can follow orders of those in command and therefore be disciplined in battle. However, while military bands are obliged to present a certain level of military discipline, they—like non-military ensembles—must uphold standards of musical skill, creativity and expression, as well as provide entertainment value for the audience. Now is a time of changing military and Canadian culture and musical interests, which leave the CF bands conflicted between retaining the old military music traditions and attracting public interest in order to continue their roles as ambassadors of the CF and as morale boosters. What has resulted is an amalgam of musical performances, comprised of disciplined military drill and music, and as well as creative drill routines and a variety of musical styles as entertainment, ranging from classical to popular, and different ensemble arrangements including those of jazz and showbands. One of the ways by which Canadian military bands (and the CF) have successfully synthesized tradition and entertainment in musical performances is through their participation in "tattoos." These military shows, which have their roots in seventeenth-century Holland, were first staged in Canada in 1959. In addition to featuring traditional military band drill displays, tattoos also present military bands engaged in non-traditional performances and entertainments for a civilian audience, including non-military vocal acts and stunt work. By presenting this variety of acts, the performers are
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