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Royal Artillery Barracks and Royal Military Repository Areas
CHAPTER 7 Royal Artillery Barracks and Royal Military Repository Areas Lands above Woolwich and the Thames valley were taken artillery companies (each of 100 men), headquartered with JOHN WILSON ST for military use from 1773, initially for barracks facing their guns in Woolwich Warren. There they assisted with Woolwich Common that permitted the Royal Regiment of Ordnance work, from fusefilling to proof supervising, and Artillery to move out of the Warren. These were among also provided a guard. What became the Royal Regiment Britain’s largest barracks and unprecedented in an urban of Artillery in 1722 grew, prospered and spread. By 1748 ARTILLERY PLACE Greenhill GRAND DEPOT ROAD context. The Board of Ordnance soon added a hospi there were thirteen companies, and further wartime aug Courts tal (now Connaught Mews), built in 1778–80 and twice mentations more than doubled this number by the end CH REA ILL H enlarged during the French Wars. Wartime exigencies also of the 1750s. There were substantial postwar reductions saw the Royal Artillery Barracks extended to their present in the 1760s, and in 1771 the Regiment, now 2,464 men, Connaught astonishing length of more than a fifth of a mile 0( .4km) was reorganized into four battalions each of eight com Mews in 1801–7, in front of a great grid of stables and more panies, twelve of which, around 900 men, were stationed barracks, for more than 3,000 soldiers altogether. At the in Woolwich. Unlike the army, the Board of Ordnance D St George’s A same time more land westwards to the parish boundary required its officers (Artillery and Engineers) to obtain Royal Artillery Barracks Garrison Church GRAND DEPOT RD O R was acquired, permitting the Royal Military Repository to a formal military education. -
Musical Entertainment in the British Army
Open Research Online The Open University’s repository of research publications and other research outputs From the Band of Musick to the Concert Party, ca. 1780–1918: Musical Entertainment in the British Army Journal Item How to cite: Barlow, Helen (2016). From the Band of Musick to the Concert Party, ca. 1780–1918: Musical Entertainment in the British Army. Music in Art, 41 For guidance on citations see FAQs. c 2016 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Accepted Manuscript Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk From the band of musick to the concert party, c. 1780-1918: musical entertainment in the British army It is quite difficult to make an absolute distinction between music with a military purpose and music made by military musicians as entertainment. Musical entertainment played by military musicians, whether aimed at the local populace or the rank-and-file soldier, is typically a tool of soft power, designed variously to enforce a sense of authority, discipline and order, to allay suspicion and hostility, or to boost morale and solidarity in situations of tension and conflict. But for our purposes here, we will concentrate specifically on those performances that can be described as formal entertainment - music to accompany dinners and dances, and concert performances of one kind or another. The regimental band became a routine feature of the British army in the late eighteenth century. -
The Memory of Slavery in Liverpool in Public Discourse from the Nineteenth Century to the Present Day
The Memory of Slavery in Liverpool in Public Discourse from the Nineteenth Century to the Present Day Jessica Moody PhD University of York Department of History April 2014 Abstract This thesis maps the public, collective memory of slavery in Liverpool from the beginning of the nineteenth century to the present day. Using a discourse-analytic approach, the study draws on a wide range of ‘source genres’ to interrogate processes of collective memory across written histories, guidebooks, commemorative occasions and anniversaries, newspapers, internet forums, black history organisations and events, tours, museums, galleries and the built environment. By drawing on a range of material across a longue durée, the study contributes to a more nuanced understanding of how this former ‘slaving capital of the world’ has remembered its exceptional involvement in transatlantic slavery across a two hundred year period. This thesis demonstrates how Liverpool’s memory of slavery has evolved through a chronological mapping (Chapter Two) which places memory in local, national and global context(s). The mapping of memory across source areas is reflected within the structure of the thesis, beginning with ‘Mapping the Discursive Terrain’ (Part One), which demonstrates the influence and intertextuality of identity narratives, anecdotes, metaphors and debates over time and genre; ‘Moments of Memory’ (Part Two), where public commemorative occasions, anniversaries and moments of ‘remembrance’ accentuate issues of ‘performing’ identity and the negotiation of a dissonant past; and ‘Sites of Memory’ (Part Three), where debate and discourse around particular places in Liverpool’s contested urban terrain have forged multiple lieux de memoire (sites of memory) through ‘myths’ of slave bodies and contestations over race and representation. -
The Royal Artillery Day (26 May) the Anniversary of the Formation Master Gunner on Appropriate Occasions
Artillery. The tour of duty is from 1st April to 31st March. The duties Institution Committee and the Board of Management of the Royal Annual Events include visiting Royal Artillery Stations and units and representing the Artillery Charitable Fund and Royal Artillery Association. Regiment at public events. He may also be asked to deputise for the Royal Artillery Day (26 May) The Anniversary of the Formation Master Gunner on appropriate occasions. The RAI, founded in 1838, of the Regiment. The Royal Artillery Institution is responsible for funds, property and support to the serving Up to three gentlemen of Regiment including sports, the Royal Artillery Band, historical St Barbara’s Day (4 December) St Barbara’s Day may be Honorary Colonels Commandant distinction with Gunner connections may be appointed as Honorary affairs, ceremonies and events, management and improvement of celebrated by church parades or social functions and may be Colonels Commandant. Regimental capital property, central messes, publications, and direct observed instead of Royal Artillery Day. St Barbara’s Day is an support to Units, recruiting and education. appropriate day for exchanges of greetings or celebrations in The Director Royal Artillery is the conjunction with the Artilleries of allied foreign armies. The Director Royal Artillery professional head of the Regiment. The Royal Artillery Charitable Fund The RACF is the Regimental Charitable Fund of the Royal Artillery; it dates from 1839 Remembrance Day The Royal Artillery Ceremony of The RASM, an when it was formed to provide relief for wives and children and non Remembrance takes place annually on Remembrance Sunday at the The Royal Artillery Sergeant Major appointment created in 1989, is the Senior WO1 in the Regiment commissioned officers and privates of the Royal Artillery embarked on Royal Artillery Memorial at Hyde Park Corner. -
The Legacy of St. Philip's Church Syracuse's 15Th Ward
Amazing Grace The Legacy of St. Philip’s Church Syracuse’s 15th Ward Grace Church (Episcopal) 819 Madison Street CONTINUING THE JOURNEY AT GRACE CHURCH Syracuse, NY 13210 & The Rev. Jennifer Baskerville-Burrows, rector AND OTHER SPIRITUAL COMMUNITIES guts 2 11/10/07 5:57 PM Page 1 “We are still in the day of small things... ...but we must remember that God uses the small things of the earth to accomplish great ends.” –The Rev. Herbert G. Coddington, Rector of Grace Church, on the second anniversary of the founding of St. Philip’s Church, Syracuse, New York, July 24, 1899 1 guts 2 11/10/07 5:57 PM Page 2 ST. PHILIP’S EPISCOPAL CHURCH, 1897 TO 1957 COURTESY SHIRLEY DAVIS COURTESY St. Philip’s Sunday Schoolers. Front row: Gary Davis, Sheila Hazel and Gregory Davis. Back row: Robert Clark and Sandra Hazel. According to Gary and Gregory’s mother, Shirley Dunham Davis, these children were raised by the rule, “You had to go to church, or you couldn’t do anything else.” 2 guts 2 11/10/07 5:57 PM Page 3 Amazing Grace The Legacy of St. Philip’s Church 1857 to 1957 CONTINUING THE JOURNEY AT GRACE CHURCH AND OTHER SPIRITUAL COMMUNITIES COURTESY BETTY CURRY COURTESY 3 guts 2 11/10/07 5:57 PM Page 4 ST. PHILIP’S EPISCOPAL CHURCH, 1897 TO 1957 Thank you to everyone who so generously shared family photographs, news articles, research papers and memories to enable us to compile this anniversary booklet, Amazing Grace. It provides a glimpse of life at St. -
National Register of Historic Places Multiple Property Documentation Form
NPS Form 10-900-b 0MB No W24-0018 (Jan. 1987) United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form This form is for use in documenting multiple property groups relating to one or several historic contexts. See instructions in Guidelines for Completing National Register Forms (National Register Bulletin 16). Complete each item by marking "x" in the appropriate box or by entering the requested information. For additional space use continuation sheets (Form 10-900-a). Type all entries. A. Name of Multiple Property Listing__________________________________________ The Historic Resources of the Chicago Park District B. Associated Historic Contexts The Historical Development of Public Parks in Chicago since 1839 C. Geographical Data The City limits of Chicago/ Illinois I I See continuation sheet D. Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria. This submission meets the procedural and professional reqt-jjjjetfienis a& forth in 36^Cr-H"Pact60^ and the Secretary of the Interior's Standards for Planning and Evaluation. Signature of certifying official Date ___ Director , T1 1 1nnls State or Federal agency and bureau I, hereby, certify that this multiple property documentation form has been approved by the National Register as a basis for evaluating related properties for listing in the National Register. _________________ Signature of the Keeper of the National Register Date E. Statement of Historic Contexts Discuss each historic context listed in Section B. -
Conservation Management Plan Simpson & Brown Architects July 2012
KELVINGROVE BANDSTAND & AMPHITHEATRE Kelvingrove Park, Glasgow Conservation Management Plan Simpson & Brown Architects July 2012 Front cover The bandstand and amphitheatre looking south in January 2012. S&B Contents Page 1.0 EXECUTIVE SUMMARY 3 2.0 INTRODUCTION 5 2.1 Aims 5 2.2 Study Area 5 2.3 Heritage Designations & Policies 5 2.4 Structure of the Report 7 2.5 Adoption & Review 8 2.6 Limitations 8 2.7 Project Team 8 2.8 Acknowledgements 8 2.9 Abbreviations 8 3.0 UNDERSTANDING THE BANDSTAND & AMPHITHEATRE 11 3.1 Introduction 11 3.2 Kelvingrove Park: a philanthropic context 11 3.3 Two bandstands 13 3.4 The bandstand design 16 3.5 The pay-boxes 20 3.6 A possible Miller connection 21 3.7 Theatre type bandstands 23 4.0 THE BANDSTAND & AMPHITHEATRE IN 2011 25 4.1 Description of the bandstand 25 4.2 Condition assessment of the bandstand 27 4.3 The amphitheatre 28 4.4 The pay-boxes 29 4.5 The gates and railings 29 5.0 ASSESSMENT OF SIGNIFICANCE 31 5.1 Introduction 31 5.2 Social Significance 31 5.3 Architectural, Aesthetic and Artistic Significance 32 5.4 Historical Significance 33 5.5 Archaeological Significance 33 5.6 Summary Statement of Significance 34 6.0 GRADING OF SIGNIFICANCE 35 6.1 Introduction 35 6.2 Elements of Outstanding Significance 35 6.3 Elements of Considerable Significance 35 6.4 Elements of Moderate Significance 35 6.5 Neutral Elements 35 6.6 Negative Elements 35 7.0 RISKS & OPPORTUNITIES 39 7.1 Introduction 39 7.2 Conservation and the Existing Fabric 39 7.3 Maintenance 39 7.4 Use 40 7.5 Statutory & Non-Statutory Constraints -
MEMOIRS of the Royal Artillery Band
TARY M Bfc_ IN ENGLAND ^^B ww <::,>„ /.:' FARMER / /^Vi^i^ 1 *^ '" s S^iii , ~H! ^ **- foH^^ St5* f 1 m £*2i pH *P**" mi * i Ilia TUTu* t W* i L« JW-Rj fA 41U fit* .1? ' ^fl***-* vljjj w?tttai". m~ lift 1 A w rf'Jls jftt » Ijg «Hri ». 4 Imj v .*<-» *)i4bpt=? ..... y MEMOIRS OF THE Royal Artillery Band ITS ORIGIN, HISTORY AND PROGRESS An Account of the Rise of Military Music in England HENRY GEORGE FARMER Bombardier, Royal Artillery Band " 1 am beholden to you for your sweet music —PERICLES WITH 14 ILLUSTRATIONS LONDON BOOSEY & CO., 295, REGENT STREET AND NEW YORK 1904 TO THE OFFICERS OF THE ROYAL REGIMENT OF ARTILLERY THIS HISTORY OF THEIR REGIMENTAL BAND IS BY PERMISSION MOST RESPECTFULLY DEDICATED. Digitized by the Internet Archive in 2012 with funding from National Library of Scotland http://www.archive.org/details/memoirsofroyalarOOfarm —; PREFACE. " Now, instead of going on denying that we are an unmusical nation, let us do our utmost to prove that we are a musical nation."—SIR ALEX. MACKENZIE. " A History of British Military Music is much needed." So said the Musical Times some six or seven years ago and to-day, when military music and military bands are so much discussed, a work of this kind appears to be urgently called for. This volume, however, makes no pretence whatever to supply the want, but merely claims to be a history of one of the famous bands in the service, that of the Royal Artillery. The records of this band date as far back as 1762, when it was formed, and I doubt if there is another band in the army with a continuous history for so long a period. -
Community Brass Bands in the Scottish Borders
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Follow the Band: Community Brass Bands in the Scottish Borders Gillian French Doctor of Philosophy University of Edinburgh 2014 Abstract 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. -
E Household Division Presents E Sword & E Crown a Military Musical
!e Household Division Presents !e Sword & !e Crown A Military Musical Spectacular Horse Guards Parade London 20!ff - 22#$ July 2021 Foreword Major General C J Ghika CBE %e Sword & %e Crown is a musical spectacular, showcasing some of the most talented military musicians in the British Army. We are extremely pleased to welcome back the Bands of the Grenadier, Coldstream, Scots, Irish & Welsh Guards with the Corps of Drums of the 1st Battalion Grenadier Guards to Horse Guards for the &rst time since %e Queen’s Birthday Parade in 2019. %e Massed Bands of the Household Division are also joined by the Band of the Honourable Artillery Company, the Band of %e Royal Yeomanry, %e Pipes & Drums of the London Scottish Regiment, the Corps of Drums of the Honourable Artillery Company and the Combined Universities’ O'cer Training Corps Pipes and Drums. We hope %e Sword & %e Crown will bring a much-needed lift to the country’s spirits after a challenging year and a half, endured by all. %ose that you see on parade today not only represent the musician talent of the British Army but also the breadth of roles the military provides; in the last sixteen months the British Army has been focused on supporting the National Health Service in the &ght against COVID-19 and some of those on parade today will have been involved in that &ght. We have all learnt to adapt recently to changing rules and regulations, and the British Army is no di(erent, in particular when it comes to State Ceremonial events. -
ROY NEWSOME Phd Thesis University of Salford Institute For
THE 19th CENTURY BRASS BAND IN NORTHERN ENGLAND: MUSICAL AND SOCIAL FACTORS IN THE DEVELOPMENT OF A MAJOR AMATEUR MUSICAL MEDIUM ROY NEWSOME PhD Thesis University of Salford Institute for Social Research Music, Media and Performing Arts Research 1999 TABLE OF CONTENTS Contents List of tables VII Appendices ix Abstract Xi Acknowledgements XII Preface Xiv Part I i) The amateur wind band in Britain circa 1800-1854 ii) The development of the all-brass band, particularly in the industrial north, 1855-1874 Introduction 1 Chapter 1 THE FIRST HALF OF THE NINETEENTH CENTURY 1.1 Band instruments, the military band, Sax and the Distins 8 1. 1.1 Early instruments 8 1.1.2 Lowbrasses 13 1.1.3 Themilitaryband 14 1.1.4 Adolphe Sax (18 14-1894) and the Distins 17 1.2 Brass and reed bands 19 1.2.1 Volunteer and militia bands to the end of the Napoleonic wars 19 1.2.2 Church bands 23 1.2.3 Civilian wind bands 26 1.2.4 Early bands in Scotland, Wales and Ireland 34 1.2.5 Stalybridge, Clegg's and Wharton's reed bands 37 1.2.6 Early works bands 44 1.2.7 Leaders 47 1.2.8 Bands in early Victorian times 48 1.2.9 Enderby Jackson (1827-1903) 52 1.3 The all-brass band 55 1.3.1 The earliest all-brass bands 55 1.3.2 The advent of the brass band movement 56 1.3.3 Burton Constable bands 57 1.4 Conclusion 59 1 Chapter 2 BANDS TO 1874 Contests and their effect on the development of the northern 2.1 brass band 71 2.1.1 Introduction 71 2.1.2 Contests to 1837 72 2.1.3 Burton Constable, 1845 74 2.1.4 Early Belle Vue contests 77 2.1.5 Incentives, disqualifications and other incidents 88 2.1.6 Enderby Jackson's contests 91 2. -
Sousa US 22/11/10 17:07 Page 8
572651-52 bk Sousa US 22/11/10 17:07 Page 8 the 150th anniversary of the signing of the Declaration % The National Game (1925) of Independence, the Sesqui-Centennial Exposition Composed at the request of Judge Kenesaw Mountain WIND BAND CLASSICS march is also particularly appropriate for the celebration Landis, major league baseball’s first high commissioner, of Sousa’s own sesqui-centennial of his birth in 1854. It Sousa’s unique The National Game featured four features a chime solo evocative of the Liberty Bell. baseball bat solos. (Track 2 from 8.559093) (Track $ from 8.559092) SOUSA’S # La Flor di Sevilla (1929) ^ Bullets and Bayonets (1918) Composed for the 1929 Ibero-American Exposition in Bullets and Bayonets, another First World War rouser, Seville, the march La Flor di Sevilla was ‘written and was dedicated ‘To the officers and men of the U.S. GREATEST dedicated to the people of Spain’. The soaring trio tune Infantry’. is one of Sousa’s most flowering melodies. (Track # from 8.559059) (Track 5 from 8.559092) MARCHES & The Naval Reserve March (1917) $ The Corcoran Cadets (1890) The 1917 Naval Reserve March was composed for the The march The Corcoran Cadets was composed for a 300-piece naval band Sousa led at Great Lakes Navy crack Washington D.C. teenage drill team. Their Training Center during World War I. It was dedicated The Liberty Bell organization performed with colorful uniforms and “To the Officers and Men of the U.S. Naval Reserve”. bearing wooden rifles. The march was most likely The trio incorporates a popular Sousa song of the time: written for the band that accompanied their drill Blue Ridge I’m Coming Back to You.