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University of Huddersfield Repository University of Huddersfield Repository Baker, Andrew ‘Pulling the Heads off Rats’: Exploring the Factors that Limit the Performance of Contemporary Music by Amateur Musicians in British Brass Bands Original Citation Baker, Andrew (2015) ‘Pulling the Heads off Rats’: Exploring the Factors that Limit the Performance of Contemporary Music by Amateur Musicians in British Brass Bands. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/27013/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ pulling the heads off rats exploring the factors that limit the performance of contemporary music by amateur musicians in british brass bands Andrew Baker ‘Pulling the Heads off Rats’: Exploring the Factors that Limit the Performance of Contemporary Music by Amateur Musicians in British Brass Bands Andrew Timothy Baker Submitted in partial fulfilment of the requirements for the degree of Master of Arts by Research September 2015 Abstract This thesis seeks to explore the reasons why amateur musicians, specifically those in British brass bands, do not commission and/or perform contemporary music. To give a meaningful answer, the text seeks first to reach a working definition of the concept of an amateur musician in the opening chapter. This chapter also provides a brief overview of the principal developments in the brass band repertoire since 1913. Chapter two presents a hypothesis relating to the discomfort that British brass bands in particular seem to feel when presented with musical innovation (particularly relating to harmonic language) and discusses the ‘closed shop’ of brass band conducting. A significant amount of field research with performers, conductors and audiences was undertaken to support this thesis and this is described in the third chapter, along with some conclusions drawn directly from the research. The fourth chapter contains commentaries on the accompanying compositions. The research as a whole (including the accompanying compositions) is intended to act as a toolkit to assist composers, conductors and amateur musicians not only to programme and perform contemporary music as part of their regular practice, but to do so in an engaged and enthusiastic fashion. 2 | Page Acknowledgements Without the help, encouragement and support of the following I would not even have begun this research, much less completed it. I therefore offer my sincere thanks (in no particular order) to: Dr Richard Glover, Dr Mary Bellamy, David Hogan, Professor Aaron Cassidy, Lucy Pankhurst, Paul McGhee, Wingates Band, Matthew Fearn, David Kaye, Hammonds Saltaire Band, Morgan Griffiths, Fodens Band, Michael Fowles, Dr Peter Meechan, Paul Hindmarsh and, last but not least, my wife Melanie. To anyone I have inadvertently left out, my heartfelt apologies and thanks. Note on Research Ethics As part of this thesis a number of live field research projects were undertaken: three audience surveys at concerts, a request for feedback and opinions via social media and specialist Internet fora and a brief survey via Surveymonkey.com. All of these were undertaken with reference to the University’s General Guidelines for Research Ethics. Participation in field research projects was designed from the beginning to be on an ‘opt‐in’ basis only – all the participants were made aware that their input was to be used in a research project for the University of Huddersfield and that participation was entirely at their discretion. All audience responses have been anonymised in accordance with the University’s research ethics guidelines (and for the project using Surveymonkey no identifying data were collected in the first place). 3 | Page Copyright Statement (i) The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. (ii) Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. (iii) The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions.––––– 4 | Page Contents Abstract ................................................................................................................................................... 2 Acknowledgements ................................................................................................................................. 3 Note on Research Ethics ......................................................................................................................... 3 Copyright Statement ............................................................................................................................... 4 Introduction ............................................................................................................................................ 6 Chapter One: Amateurism and the Brass Band .................................................................................... 11 Defining amateurism ......................................................................................................................... 12 CoMA................................................................................................................................................. 14 A brief history of the main repertoire developments of the brass band ......................................... 15 Chapter Two: Genre Conventions in the British Brass Band and its Repertoire ................................... 21 Heritage and redemption in British brass band music...................................................................... 22 Background and experience of brass band conductors .................................................................... 28 Chapter Three: Case Studies ................................................................................................................. 33 Case study 1: Th’owfen Raconteurs by Lucy Pankhurst.................................................................... 34 Case study 2: Episodes, Occurrences and Interludes by Paul McGhee ............................................ 39 Case study 3: Lock Horns/Rage On by Simon Dobson ...................................................................... 45 Chapter Four: Commentary on the Compositions ................................................................................ 49 atrium phase ..................................................................................................................................... 50 f/m..................................................................................................................................................... 51 Isti Mirant Stella ................................................................................................................................ 53 The Arrival of Spring .......................................................................................................................... 55 Conclusion ............................................................................................................................................. 59 Appendices ............................................................................................................................................ 63 Appendix I: PRSFM grants April 2014 ............................................................................................... 64 Appendix II: A brief history of the brass band .................................................................................. 66 Appendix III: Interviews with players from Wingates Band .............................................................. 70 Appendix IV: Programmes and feedback for Hammonds Saltaire Band concerts ............................ 80 Appendix V: Survey on the experience and training of brass band conductors (summary data) .... 83 Appendix VI: Works cited .................................................................................................................
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