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Order Number 9227288
The brass band movement in North America: A survey of brass bands in the United States and Canada
Hosier, Ned Mark, Ph.D.
The Ohio State University, 1992
Copyright ©1992 by Hosier, Ned Mark. AH rights reserved.
UMI 300 N. Zecb Rd. Ann Arbor, MI 48106
THE BRASS BAND MOVEMENT IN NCMH AMERICA: A SURVEY OF BRASS BANDS IN THE UNITED STATES AND CANADA
DISSERTATION
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By
Ned Mark Hosier. B.ME.. M.A.
The Ohio State University 1992
Dissertation Committee: Approved By A. Peter Costanza
PauIE. Droste Adviser Jon R. Woods School of Music Copyright by Ned Mari Hosier 199? Tomy vife. Cheryl L. Hosier and my daughter, Valerie E. Hosier
u The author of this vork vould like to acknowledge ail those individuals who participated directly or indirectly with this research project. A special note of gratitude is extended to the members of the reading committee. Dr. A. Peter Costanza. Dr. Paul E. Droste, and Dr. Jon R. Woods. Their encouragement, support, and advice throughout the course of this project are sincerely appreciated. Special thanks are extended to Mr. Bert Wiley, owner of Bernel Music in Cuiivwhee, North Carolina, for his assistance in obtaining names and addresses of brass bands throughout the United States and Canada; and Mr. Thomas A. Myers of Akron, Ohio, editor of The Brass BandBridge, for his valuable information regarding current member bands of the North American Brass Band Association. Finally, a special debt of gratitude is owed to members of my family: my wife Cheryl, for her continued love, encouragement, and support throughout this endeavor; my daughter Valerie, for always bringing a smile to my face; and my parents Ned and Evelyn Hosier, for instilling in me the desire to learn and achieve.
m VITA
October 25,1954...... Born - Columbus, Ohio
1976 ...... B.Mf., The Ohio State University, Columbus, Ohio
1975 - 1986 ...... Director of Bands, Westfall High School Williamsport, Ohio
198 5...... M.A. in Music Education The Ohio State University, Columbus. Ohio
1986 -1989...... Director of Bands, Westland High School Galloway, Ohio
1989 -1992...... Graduate Teaching Associate. School of Music. The Ohio State University Columbus. Ohio
FIELDS OF STUDY Major Field; Music Studies in Music Education: Dr. A. Peter Costanza Studies in Brass Band History; Dr. Paul E. Droste Studies in Instrumental Music Education; Dr. Jon R. Woods
IV TABLE OF CONTENTS
DEDICATION...... ii ACKNOWLEDGEMENTS...... ü i VITA...... iv LISTOFTABLES...... vii Chapter I. INTRODUCTION...... 1 Need for the Study ...... 5 Statement of the Problem ...... 6 Purpose of the Study ...... 7 Definition of Terms ...... 8 Limitations ...... 10
II. REVIEW OF LITERATURE...... 11 The Development of Brass Bands in England ...... 11 The Development of Brass Bands in North America ...... 18 The Role of Competitions in the Brass Band World ...... 12 Brass Band Organization, Recruitment and Training Methods ...... 25
III. PROCEDURE...... 28 Population ...... 28 Survey Questionnaire ...... 28 Development of the Survey Questionnaire ...... 29 Procedures ...... 31 Treatment of the Data ...... 31 IV. PRESENTATION OFTHE DATA...... 33 Results from the Survey Questionnaire ...... 34 Basic Information from the North American Brass Band Survey ...... 36 Compilation of Data from the North American Brass Band Survey ...... 99
V. SUMMARY, CONCLUSIONS. IMPLICATIONS, AND RECOMMENDATIONS...... 143
Summary...... 143 Purpose...... 143 Procedures ...... 144 Summary of Results...... 146 Conclusions ...... 157 Implications ...... 160 Recommendations ...... 163
BIBUOGRAPHY...... 164
APPENDICES...... 168
A. Survey Questionnaire ...... 168 B. Survey Cover Letter...... 183 C. Survey Questionnaire Evaluation Form ...... 185 D. First FoUov-Up Letter and Response Form ...... 187 E. Second FoUov-Up Letter ...... 190 F. Article Submitted to The BrassB&adBridge...... 192 G. Directory of Population, Respondents and Non-Respondents ...... 194 H. Alphabetical Listing of Respondent Brass Bands and Listing of Bands by State/Province ...... 206
V i LISTOFTABLES
Table
1. Survey Questionnaire Validation Results ...... 30 2. Survey Questionnaire Response Data ...... 35
3 Survey Respondent Data ...... 35 4. Participating Members...... 99
5 High School Instrumentai Music Training ...... 100 6. College Instrumental Music Training ...... 100 7. Current or Former Music Educators ...... 101 8. Current or Former Professional Musicians ...... 17?
9. Number of Males and Females ...... 102
10. Age of Members...... 102
11. Financial Compensacion of Members ...... 103
12. Participation Fee Required of Members ...... 103 13 Band Performance Attire ...... 104
14. Provision of Band Performance Attire ...... 105
15 High Brass Instrumentation ...... 105 16. Mid-range Brass Instrumentation ...... 106
17. Baritone/Euphonium Instrumentation ...... 107 18. Brass Band Instrumentation ...... 107 19. Band Incorporation ...... 108
v u 20. Tax EïemptStatus...... 108
21. Utilization of Constitution /Set of By-lavs ...... 109
22. In elusion of Board of Directors as Part of Organizational Structure ...... 109
23. Inclusion of a Set of Officers as Part of Organization ...... 110
24. Utilization of Committees ...... 110
25. Membership Selection ...... Ill 26. Conoucior Seieciion ...... 112
27. Conductor Compensation ...... 112 28. Primary Source of Funding ...... 113 29. Operating Budget - All Respondents ...... 114 30. Operating Budget - Amateur Band Respondents vith No School/University Support ...... 114
31. Operating Budget - Amateur Band Respondents with School/University Support ...... 115
32. Operating Budget - Professional Band Respondents ...... 115 33- Support of Other Bands/Musical Organizations ...... 116
34. Bands/Musical Organizations Supported By Another Brass Band ...... 116
35. Months of Rehearsals/Performan ces ...... 117
36. Frequency of Rehearsals ...... 118 37. Length of Rehearsals ...... 118
38. Location of Rehearsals ...... 119
39. Amount of Performances per Year ...... 120 40. Location of Performances ...... 120 41. Performances ’®’eii Attended by Members of the Community ...... 121
TUI <2. Brass Band is Best Knovn Instrumental Music Ensemble in the Community ...... 122
43. Nevs Media Does an Effective Job of Publicizing Brass Band Performances ...... 123
44. News Media Does an Effective Job of Covering/Reviewing Brass Band Performances ...... 123
45 Community is willing to Provide Necessary Financial Support ...... 124
46. Literature Challenges Performers’ Technique, Interpretive and Artistic Abilities ...... 125 47. Literature is ¥ ithin Capabilities of Band and Rehearsal Time Limits...... 126
45. Literature Presents Wide Range of Styles and Overall Variety to Audience ...... 126
49. Lileratu re is Primarily Original Brass Bands ¥ orks by British Composers...... 127
50. Literature Includes Transcriptions, Arrangements, and Original Brass Band Works ...... 128
51. Performance Literature Determined by Nature and Location of Event ...... 128
52. Literature Chosen Reflects Desire to Raise Musical Consciousness ...... 129
53 Location Where Brass Band Arrangements are Purchased ...... 130
54. Band is a Member of North American Brass Band Association ...... 131 55 Reasons for Band Not Being a Member of NABBA ...... 132
56. NABBA is Doing an Adequate Job of Promoting Brass Bands ...... 132 57. Participation in NABBA-sponsored North American Brass Band Championships ...... 133
55. Participation in NABBA-sponsored Video Championships ...... 134
II 59. Willing to Participate in Regional Competitions, Advancing to Final Championship ...... 134 60. “Contesting” is Valuable to North American Brass Band Movement ...... 135
61. Suggestions/Comments Regarding the Value of Competition and the Role of NABBA ...... 136
52. Membership in a Band Represents a Member's Genuine Love of Music ...... 138
63. Band Membership is a Social as Well as Musical Activity...... 138 64. Band Membership Represents Members' Positive Attitude Tovard Music Education ...... 139
65. Brass Banding is the Best Eiample of Adult Amateur Music-making in the World ...... 140
66. Aware of Other Brass Bands Within 100 Mile Distance ...... 140 67. Other Brass Bands Within 100 Mile Distance ...... 141
6S. Additional Comments From The Respondents ...... 142 CHAPTER I INTRODUCTION
T he British Brass Baad movement is as much a traditional social activity as it is a musical organization." (Johnson, 1979)
Brass Bands came into being in England over 150 years ago. An important factor in the creation of these all-brass ensembles was the introduction of the cornopean, as the cornet was at first known. A series of valve inventions and modifications gave these instruments the ability to execute a full chromatic scale, making them a more satisfactory instrument than the keyed bugle for providing the upper lines in a brass band. Shortly thereafter, Adolphe Sax devised the "saxhorn", with a complete set of valved brass instruments in graduated sizes to cover an entire practical range of pitch. The instrumentation of the British-style brass band has remained basically unchanged since the mid 1800's. A standard size contesting ensemble is approximately 25 wind players plus 2 or 3 percussionists. A typical score would usually call for the following instruments;
£ Flat Soprano Comet Bass Trombone Solo/lst Cornet (4 players) 1st Baritone Horn 2nd Comet (2 players) 2nd Baritone Horn 3rd Comet (2 players) 1st Euphonium Repiano Cornet 2nd Euphonium Flugelhom E Flat Tuba (2 players) Alto Horn ( 3 players) B Flat Tuba (2 players) 1st Trombone Percussion (2 or 3 players) 2nd Trombone This instrumentation provides for a unique spectrum of sound. The dark, rich, mellow tone quality is due primarily to the fact that all of the instruments, except the trombone, are conical bore in design. This distinctive instrumentation is also a near perfect example of the "pyramid balance system” (McBeth, 1972). This concept of balance coupled with, in many instances, the use of matched mouthpieces and brands of instruments serves to enhance the ensemble’s capability of achieving exceptional blend and intonation. The unique instrumentation has also contributed to the band's longevity as a musical ensemble. The similarity of the fingerings of the valved brasses plus the adoption of treble clef for ail of the instruments (except the bass trombone) has been a blessing for conductors throughout the years, for it has enabled them to make easy personnel transfers from one instrument to another Then absences in the sections appeared on short notice. Aside from the mechanical evolution of the instruments, the actual development of the bands had profound social implications. During much of the 1700's, most instrumental music was produced mainly by “working” musicians who performed for the benefit of, and in the employment of, the wealthy. Instrumental music was considered as somewhat of a luxury and there was very little of it for the masses. With the dawn of the machine age and the industrial revolution came an "opportunity" for the working classes to have a certain amount of "idle" time. Avis (1%9) described the situation in this manner:
"Moreover, in the late 1800's mass entertainment had not yet arrived to fill it. so the newly developed brass came immediately into the hands of the men who had time to play with them, and not too much else to do. Many years ago, I met an old miner who had, in his youth, played with the British brass bands and he told me that it was their custom then to come out of the pit, wash up, eat, and go to the band room every night!" Thompson (1985) however, made this observation concerning this "idle"time:
“Back in Britain, whilst the brass band came into being largely through the philanthropic attitude and desire of mill millionaires and cotton kings that their workers should spend their scant leisure time in worthwhile pursuits, the development of the wind band was left almost entirely to the military."
In reality, management often times had motives other than providing a recreational cutlet for their employees. Instead of paying better wages, brass bands could be used as a method of "buying them cut” in the guise of providing work benefits. In some cases, management made participation in the bands a part of the employee s work assignment, and if necessary, released the employee from work time to attend band rehearsal. It was a great way to advertise their business and a fine band helped instill pride in the entire work force. Though S)me bands did have their beginnings as regimental unit:; and waits, most of the groups were strictly a "working class" diversion, aided by the social conditions in England at the time. Many bands, such as Black Dyke Mills, Foden's Motor Works, and Fairey Engineering were sponsored by mines, mills and factories. Others, like the City of Coventry and Brighouse & Rastrick (two neighboring villages) were sponsored by towns and communities. The latter half of the nineteenth century saw a great increase in the popularity of brass bands in England. The 1850 s had seen the emergence of "contesting" on a grand scale. The contests proved to be a presence that was needed to give the brass band movement a definite identity. Participation helped to assure a more standard instrumentation and served as an inspiration for the writing of brass band literature. The participating bunds developed quite a loyal following and the entire notion of competition was rec irded as a very serious endeavor. The Salvation Army bands had humble beginnings during this period also. According to Taylor (1979), an order was issued in 1880 by General William Booth directing ali officers and soldiers to learn to play. He had witnessed a band s ability to calm a "hostile” crowd and thought that it would be of benefit to have a band to accompany him on his Salvation Army campaigns. He asked for "violins, bass viols, concertinas, cornets or any brass instruments, drums, or anything else that will make a pleasant sound to the Lord.” The goal of the Salvation Army Band at that time was simply to "raise a ruckus", draw a crowd and spread the word of the Lord. They were seldom mentioned in the brass band press, never entered contests and never played music other than their own. In time though, they did develop into outstanding musical organizations, as many are today, but they still maintained a certain distance from the secular brass band world. In North America, brass bands are said to have appeared in the early 1830's (Sadie, 1980). Edward Kendall’s Boston Brass Band gave its inaugural performance in March of 1835 at about the same time the all-brass Dodsworth 's Band was being organized in New York. In the United States, during the mid-nineteenth century, most of the brass bands were basicallv saxhorn ensembles. Later in the century the cornet began to replace the higher saxhorn and the British-style instrumentation became more prevalent. The brass band was the most common type of municipal band at the time, providing entertainment for a variety of civic and social affairs; and it was also used extensively as a regimental band during the Civil War in both the infantry and the cavalry. The Salvation Army began its involvement in brass banding in North America with the formation of the New York Staff Band in 1887. According to Holz (1986), Marshal Ballington Booth, commander of The Salvation Army in America, founded a staff band with goals that remain unchanged to this day; (1) to attract more public notice for evangelistic efforts; (2) to provide a model of good music-making for developing bands; and (3) to have an effective, mobile "back-up" force for major public appearances and fund-raising campaigns. During the late 1800's, several towns were organizing brass bands to provide entertainment at a variety of civic and social affairs. After that time, the number of brass bands began to decline due to the great development of the military wind band by Gilmore and Sousa. For ail practical purposes, the brass band had virtually disappeared by the turn of the century. While the British brass band tradition has been kept alive over the past 100 years by Salvation Army Bands and The Ohio State University Marching Band, which adopted its ail-brass, British-style instrumentation in 1934; it has only been in the last 10 to 15 years that the brass band has made a significant comeback in the United States and Canada. Due to this re-birth of interest in brass banding in North America., ïhe North American Brass Band Association (NABBA) was founded by Perry Watson in 1983 The goal of this organization is "to foster, promote, and otherwise encourage the establishment, growth, and development of amateur and professional British-type brass bands throughout the United States and Canada." In order to help bring attention to the brass band movement and be true to the British tradition of contesting, NABBA has also sponsored the North American Brass Band Championships on an annual basis since 1983
Need for the Study
While there is a substantial body of literature that documents the development of the American wind band, very little literature deals specifically with the origins, development and current status of the brass band in North America. The brass band movement has traditionally served as one of the best examples of amateur music-making in the world. While participation in instrumental music ensembles in North America is usually thought of as a school curriculum activity with literally thousands of instrumentalists graduating from the high schools and colleges on an annual basis with very little desire or opportunity to continue playing, the brass band movement has been able to cultivate continuing instrumental music participation at the adult level by the amateur musician as a social activity with lifelong advantages and opportunities. A study was needed to survey conductors/directors of brass bands in North America to determine the present status of the brass band activity and its relation to instrumental music participation at the adult level. An examination and comparison of brass bands regarding origins, membership, instrumentation, funding, performances and repertoire would seem valuable as well. Research data could be used not only by the North American Brass Band Association to help measure its impact on the brass band movement and further assist that organization in the establishment, development and growth of brass bands in the United States and Canada, but also by the music education community in general to aid in the continued development of a musically literate society.
Statement of the Problem
An underlying assumption of this study was that the brass band movement represents a rich and diversified assemblage of beliefs and philosophies about adult music-making and the life-long value of music education. There is presently very little information regarding the status and development of the brass band movement in North America. Though there was thought to be nearly 100 bands in existence in the United States and Canada today, only 23 were documented as dues-paying members of the North American Brass Band Association. Results from a survey of brass band conductors/directors would reveal the overall "health" of the brass band movement as a musical and social activity. Data gathered from the study could help identify the strengths and weaknesses of the brass band movement in North America and aid in the formulation of additional strategies and guidelines to foster the growth and development of brass bands, and adult amateur music-making, in the United States and Canada.
Purpose of the Study
The purpose of the study was to examine the present status of the brass band movement in North America. To accomplish this, a survey instrument targeting conductors/directors of brass bands was designed to address pertinent issues of significance to the brass band movement. While the survey questionnaire deals with many issues, the study was specifically designed to answer the following research questions: 1. How many brass bands are there in existence in North America today and what are their origins? 2. What demographics are associated with the brass band membership, such as how many members are currently participating; what types of musical training do the members have; what recruitment strategies are employed by the bands; what are the age and gender of the participating members; are members compensated in some fashion for their time; and what type of financial commitment for uniforms, instruments, etc. is required to be a member? 8
3. What is the instrumentatioa of the easezbîes: how does the instrumentation deviate from the traditional British-style instrumentation; what brands of instruments are used; and are the instruments provided by the band or the band members? 4. What types of organizational structures are utilized by brass bands; how are conductors chosen and compensated; and what is the source of funding for the ensembles? 5. How many performances do the brass bands give on an annual basis; what amount of rehearsal time is necessary to prepare for the performances; what facilities are provided for rehearsal; where are the performances held; and what is the extent of community involvement and support in attending the performances? 6. What styles of repertoire are performed; and are the selections original works for brass band or transcriptions/arrangements? 7. What impact has the North American Brass Band Association had on brass bands in the United States and Canada; to what extent is there an interest in contesting; and how might the Association better serve the brass band movement? 8. Does membership in a brass band reflect clearly defined philosophies and attitudes toward the value of music education to the adult performer?
Definition of Terms
The following terms are defined to reflect their use and relevance in this study:
Brass Band. A type of wind band consisting solely of brass instruments, or brass and percussion instruments. Brass Band Coaduetors/Sirectars Surveyed. The population of conductors or directors of those brass bands vhose names and addresses could be obtained through officers of the North American Brass Band Association and other sources.
British-Stvle. A type of brass band instrumentation using the traditional British brass band instruments: E-Flat and B-?iai Cornets, Fiugeihorns, E-Fiat Alto Horns, Trombones, Baritones, Euphoniums, E-Flat and B-Flat Tubas, and Percussion.
Brass-Banding. The act of participating in a brass band.
Contesting. A brass band's participation in a competitive event vhere ensembles are adjudicated by professional musicians/educators and ranked by the use of a point system.
North American Brass Band Association (NABBA). An organization formed in 1983 to foster, promote, and othervise encourage the establishment, grovth, and development of amateur and professional British-style brass bands throughout the United States and Canada.
Wind Band. An instrumental music ensemble comprised of brass, voodvind, and percussion instruments, in which specific instrumentation is often determined by the repertoire selected for performance. 10
Limitations
The current study was concerned with an esaminatxon of the present status of the brass band movement in the United States and Canada. The following limitations are acknowledged as part of the conceptual framework which guide the study: 1. The study sample of brass band conductors/directors was limited to those names and addresses available through the officers and associates of the North American Brass Band Association, as well as other sources deemed appropriate by the author. 2. The study sample of brass band conductors/directors did not include those who conduct Salvation Army Bands, Armed Forces Bands, or Drum U Bugle Corps due to the unique origins and functions of these ensembles. 3. The survey instrument did not consider such factors as age of the conductor/director, years of experience, position, or prior education. CHAPTER II REVEW OF LITERATURE
A review of literature pertaining to the development and current status of the brass band in North America produced few useful sources. There are however several works published concerning the history and development of brass bands in the United Kingdom, the history and value of contesting, and the training and organization of brass bands. To truly understand the significance of the brass band movement in North America, it is this author's opinion that a review of all of these areas is definitely appropriate. This review of literature is organized, therefore, into four broad categories: (1) the development of the brass bands in England; (2) the development of brass bands in North America; (3) the role of competitions in the brass band world; and (4) brass band organization, recruitment and training methods.
The Development of Brass Bands in England The British brass band movement has a rich and colorful history. Some of the more prominent literature which has examined this development includes works such as Geoffrey and Violet Brand's Brass Bands in the Twentieth Centurv (1979) and Arthur Tavior's Brass Bands (1979). Several articles by the likes of Avis (I%9), Brand (1972), Fitzgerald (1950), Hazelman (1961), and Mamminga (1971) also give an in- depth look at the British tradition of brass banding, with emphasis primarily on the 1860's to the present.
11 12
The latter half of the aineteenth century saw a great increase in the popularity of brass bands. Taylor (1979) quits appropriately referred to this era as "The Golden Age" of br’.ss banding. The 1850's had seen the emergence of "contesting" on a grand scale. The contests proved to be a presence that was needed to give the brass band movement a definite identity. Participation helped to assure a more standard instrumentation (specified in the rules) and served as an inspiration for the writing of brass literature, be they transcriptions or original compositions. The contests drew large crowds, not just for the musical entertainment, but for peripheral entertainment as well, such as sideshows, fireworks and sporting events. The participating bands developed quite a loyal following and the entire notion of competition was taken very seriously by all involved. This increased level of popularity and prosperity not only helped promote the band movement as a whole, but also led to the formation of even more amateur groups. The premier contest of this era was the British Open Championship held at Belle Vue, Manchester. This annual event saw the emergence of suvh outstanding bands as the Black Dyke Mills Band led by Samuel Longbottom and later by John Gladney, John Lord's 4th Lancashire Rifle Volunteers Band (known as the Bacup Band), the Meltham Mills and Kingston Mills Bands under the direction of John Gladney, the Wyke Temperance Band of Edwin Swift, and the famed Besses o' th' Barn (named after the inn in which they rehearsed) under the baton of Aiei Owen. The literature performed in competition ranged from transcriptions of works by Charles Gounod, Giuseppi Verdi and Giacchino Rossini to original compositions by the likes of Henry Geehl, Enderby Jackson, William Rimmer and Richard Slater. The year 1900 saw the emergence of London as a contest venue of equal importance to Belle Vue, as it became host to The National Championship. 13
Brass bands were again reaching nev heights of popularity. An avid promoter of brass bands, John Henry lies, declared Alex Owen and the Besses o ' th ’ Barn Band to be the "official” ambassadors of banding. In 1903, the Band traveled to London to the studios of Columbia Phonographs to become one of the first brass ensembles to record on phonograph cylinders. In 1906, lies orchestrated world tours (including stops in the United States) of both Besses o' th' Barn and the Black Dyke Mills bands. The early 1900's also saw the arrival of even more top bands on the brass band contest scene, including the St. Hilda Colliery and the Foden's Motor Works bands of William Halliwell, and the Irwell Springs and Wingates Temperance bands led by William Rimmer. World War I caused the break-up of several bands due to mass enlistments and increased work loads. Some bands were able to survive during the war years even though their ranks were somewhat depleted. The British Open Championship at Belle Vue continued to be held but the National Championship in London was canceled for the duration of the war. The first war was definitely a setback to those associated with brass bands, but the movement continued on. The most successful band during the post-war years was the Foden's Motor Works Band under the direction of Fred Mortimer. Taylor (1979) described the band in this colorful manner:
"William Halliwell had conducted the band through the 1920 s but increasingly the name Foden's meant the Mortimers. Fred Mortimer, who had been bandmaster under Halliwell, took over the baton in 1929 and ruled the band with a rod of iron. The players had jobs in the factory, but earned far more than the average wage when the band went on tour for several months during the summer. As economic conditions worsened, men were put on short time or laid off altogether - some were reduced to busking when the band was networking. Those on the dole could not claim unemployment benefits on contest days, the theory being that they were unavailable for work. Given this uncertain background, there were few overt displays of temperament and even fewer threats of resignation - there weren't many places to go and no one dared to risk crossing the conductor and losing his place in the band or job in the factory. Foden's line-up remained, not H
surprisingly given the circumstances, stable throughout the 1930 s - the band vas all they had. EH. Foden himself, the son of the founder, attended almost every rehearsal, sitting in the background behind a cloud of cigar smoke; Fred Mortimer, having sorted out the details of vhat vas going to be rehearsed beforehand vith the band librarian, vould stride in on the second of the appointed time, give a peremptory tap on the rostrum vith his baton and commence vork vithout a vord of greeting to the musicians. When a senior and much respected bandsman, a vinner of innumerable solo medals and prizes, fluffed a note at rehearsal, the conductor asked coldly if he vas out of practice and advised him to improve himself. That vas not to imply that Foden s was a band of robots - far from it. Their reaction to a vrong note vas to avard an ancient putty medal to the offender. Brass bandsmen have alvays been a pretty lively bunch and Foden's had their quota of highly- spirited individuals - among the liveliest being Fred Mortimer's eldest sons, Harry and Alex."
Harry and Alex Mortimer both had significant performance experience vith major orchestras of the day, and gradually the Foden's Band began to acquire a more symphonic sound led by Harry's light, sveet cornet playing. This soon became the sound that other bands vould emulate. Another fine band emerged during this era also - the Brighouse and Rastrick Band led by Fred Berry and later William Halliveli. Brighouse, along vith Foden's, dominated the contest scene until the outbreak of World War II. The late 1920's and 1930 s also sav the vriting of an increasing number of original vorks for brass band, most notably "A Moorside Suite" by Gustav Holst, Edward Elgar 's "Severn Suite", and John Ireland's "Dovnland Suite." During World War II, those bands able to remain in existence drew their membership largely from the stable work force of those men not in the military. As during World War I, the National Championship vas canceled, but the British Open Championship vas held. Small ensemble contests were also held to help keep the interest in brass banding alive. The dominant band of this time vas the Fairey Aviation Works Band led by Harry Mortimer. An example of bandsmen's true dedication to brass banding vas 15 demonstrated by the City of Coventry Band in 19<1: the German Luftwaffe had devastated the town, but the band still came to contest at Belle Vue and won 3rd Place Most of the top works bands survived the war and resurfaced quickly. Many of the colliery bands however, fell apart due to changes in the pattern of management. Brass bands were now having to compete with a variety of new entertainment markets for an audience. For some, banding seemed an old fashioned endeavor - too demanding on one s time and reminiscent of the bad times of the 1930 s. Quite simply, many prospective band members now felt that they had better things to do with their free time. Thanks to the intense dedication to the brass band movement by Denis Wright (and later Harry Mortimer), and the involvement of the British Broadcasting Company, brass bands began to rekindle interest in their movement through radio broadcasts. Wright was appointed as the first Brass and Military Band Supervisor for the BBC in the late 1930 s. By the late 1940's and early 1950 s, there were as many as 18 broadcasts a week and an average of nearly 500 a year. Massed band performances had always been popular, but Mortimer brought this activity to new heights, first with his All-Star Brass and then beginning in 1952, the most famous combination of them all - the extremely talented Men O' Brass, comprised of the assembled talents of the Morris Motors Band, the Foden s Motor works Band and the Fairey Aviation Works Band. The 1950's also saw the addition of a few more bands tc the ranks of the elite previously mentioned - the CWS Manchester Band and the Ransome & Maries's Band under the direction of Eric Ball, the Munn and Felton's Band led by Sianiey Boddington and Jack Atherton's Carlton Main Frickiey Colliery Band. Many of the bands representing the "old guard" were still going strong, but under new direction at competition. The Black Dyke Mills Band was now led by Ales Mortimer and the Besses o' th ' Barn was now under the direction of William Wood. 16
la addition, the post-war period also saw the appearance of even more quality literature for brass band contesting from composers such as Eric Ball, Denis Wright Frank Wright, Erik Leidzen, and Ralph Vaughan Williams. By the late 1950‘s and the early 1%0's a decline, in both the number of brass bands and the public interest in them, was becomingapparent. There were many factors involved in this demise, including the fact that many of the works bands were being broken up because the management or workers believed them to be uneconomic, but Taylor (1979) perhaps states it best;
"The simplest explanation for the apparent slump was put to me once by a shrewd brass band trader; bands flourish in times of adversity. As social conditions improve, wages go up, and all sorts of leisure opportunities and choices present themselves, people become less interested in banding. Increasing affluence in the 1950 s meant a television set, a new car, weekend drives, meals out, even holidays abroad - all priorities conflicting with weekly rehearsals and band engagements. On the other hand, when times are getting difficult, banding becomes more attractive - it need not cost much, for instruments, music and band room can be made available. The players get out and about and enjoy a social life which costs trem comparatively little."
The 1%0's saw changes in company management policies and sponsorship in relation to both the bands and the contests. Thanks to the great traditions of the more famous bands and the work of such "movers and shakers" of the brass band world as the Mortimer family and E. Vaughan Morris (who took control of several compeutions), the brass band movement persevered. Another problem was dealt with in 1%7. By what some termed an "accident of history" brass band instruments had remained "high pitch" (À-452.5). while similar instruments in orchestra and military bands had been manufactured for years in "low pitch" ( A-440) or standard pitch. The Boosey and Hawkes Instrument Company had decided that two similar production lines were uneconomic, especially in an age of rising labor costs. They began a campaign to try to convince bandsmen to switch 17 to the standard pitch instruments, a suggestion that was met with a certain amount of resistance by the brass band traditionalists. The issue was shortly settled when the Boosey and Hawkes Company and another instrument manufacturer, the Besson Company, announced that they would cease regular production of high pitch instruments: and furthermore, if the traditionalists were going to maintain their affection for them, a 20® increase would be added to the cost of each instrument to cover the inconvenience of the production changes. To the relief of both the bandsmen and the instrument manufacturers, the Black Dyke Mills Band won the National Championship in 1967 using a complete, new set of standard pitch instruments. The brass band world had dealt with yet another crisis and was again "on the move" with a renewed identity. New faces were being seen at the contests and groups such as Stanley Boddington’s GUS Footwear (formerly Munn and Felton’s), the Fairey Band led by Leonard Lamb and the Grimethorpe Colliery Band under the direction of George Thompson were now being recognized along side some of the traditional brass band stalwarts - the Black Dyke Mills Band, now under the baton of Geoffrey Brand, and conductor Walter Hargreave s Brighouse and Rastrick Band. The musical repertoire was continually expanding. Traditionally, most original works had been commissioned as test pieces for contests, but now an increasing number of composers - Malcolm Arnold, Gordon Jacob, Denis Wright, Edward Gregson, Gilbert Vinter, Eric Ball and Frank Wright to name a few - were beginning to write several works for bands of all abilities, including youth bands, which were now gaining more and more popularity. In the early 1970’s, Arthur Taylor of the Granada Television Company began airing brass band programs - the Sounding Brass series and the Granada Band of the Year Show were very successful and helped “spread the word" about brass bands and keep the movement in the public eye. 18
During the last tventy years, the brass band movement has witnessed a continuing influx of interest in the activity and the maintenance of remarkable musical quality by the ensembles. Bands like the Yorkshire Imperial Metals under the direction of Trevor Walmsley and Denis Carr, Black Dyke Mills led by David King, Dennis Smith’s Wingate Temperance Band, Kennedy’s Swinton Concert Brass directed by Garry Cutt, Hammonds Sauce Works Band under the direction of Geoffrey Whitham, Desford Colliery Caterpillar under the baton of James Watson and the Williams Fairey Engineering Band led by Major Peter Parkes have all continued to set envious standards in competitions. A growing repertoire, with contributions by such names as James Curnow, Bruce Broughton, Gordon Langford, William Himes, Peter Graham and Goff Richards has enabled the modern day brass band to explore nearly every realm of musical possibility and maintain its position as perhaps the most versatile of all instrumental ensembles. Though the brass instrumentation has remained virtually unchanged, the expanded use of percussion (not allowed at contests until 1972) by contemporary composers has served to broaden the already expansive range of musical capabilities of this unique ensemble. The current brass band movement in England can be considered as one of the best examples of amateur music-making in the world, and the participating band members have definitely proven it to be a "labour" of love.
The Development of Brass Bands in North America Literature documenting the development of brass bands in North America is limited in nature. There are books , such as Carolyn Brvaat’s And The Band Plaved On (1975), Robert M. and Margaret H. Hazen's The Music Men: An Illustrated History of Brass Bands in America, 1800-1920 (1987) and William Schafer's Brass Bands and New Orleans lazz (1977) that give interesting insights into the roots of the brass band 19 movement, but the majority of literature is found in the form of articles, primarily concerned vith starting brass bands, by the likes of Berger (1960), Droste (1986), Frak (l%l),Rehner (1960), Waiters (1960), and Watson (1986). The movement tovard ail-brass bands is said to have begun in the United States and (Zanada about 1815 vith the introduction of the keyed bugle (Bryant, 1975). It vas capable of playing the entire range of notes in any scale and it soon replaced the clarinet in popularity as the leading melodic voice in the band. One of the most famous performers on the keyed bugle vas Edvard Kendall who established one of the first brass bzmds in the United States in 1835 - the Boston Brass Band. Americans enthusiastically velcomed this nev-sounding ensemble and even established bands like the Dodsvorth's Band in Nev York City and the Salem Brigade Band in Salem, Massachusetts converted to the all-brass instrumentation. Most of the brass bands vere basically saxhorn ensembles during the mid nineteenth century, though trumpets and trombones vere found in the larger bands. Later in the century, the cornet began to replace the higher saxhorn and instrumentation similar to the British ensembles became more prevalent By the l89C*s, the number of brass bands begam to decline due to the great development of the military vind band by renovn bandmasters Patrick Gilmore and John Philip Sousa, vho preferred ensembles of mixed instrumentation (Bryant, 1975). By the turn of the century the community brass band had virtually disappeared. With the exception of The Ohio State University Marching, vhich adopted its all- brass, British-style instrumentation in 1934 under the leadership of Eugene J. Weigel (Aho, 1979), it has only been in the last 10 to 15 years that the brass band has made a significant comeback in North America. As a result of this rebirth of interest in brass bands, the North American Brass Band Association (NABBA) vas formed in 1983 by J. Perry Watson, a brass band enthusiast vho vas at the time Director of Music at North Carolina State University, 20 and also the director of the North Carolina State University British Brass Band. He had held the position at North Carolina State University since I960 and, throughout his tenure, he was vitally interested and active in the brass band movement. Mr. Watson began a series of brass band festivals as early as 1977, and in 1980, he founded the newsletter. The Brass Band Bridge, which later became the official publication of the North American Brass Band Association, and served as its Editor for a period of five years. He organized and hosted the first North American Brass Band Championships in 1983. He also organized and directed the Annual American Festival of Brass Band Workshops held throughout the country and sponsored by the Yamaha Corporation of America as an effort to promote brass banding. In addition, he is the author of several articles, booklets, and a tape/slide show dealing with brass bands. Mr. Watson served as the first President of the North American Brass Band Association. The goal of the organization was " to foster, promote, and otherwise encourage the establishment, growth, and development of amateur and professional British-type brass bands throughout the United States and Canada," an ideal that it still maintains today. True to the British tradition of contesting and to help draw attention to the movement, NABBA has sponsored the North American Brass Band Championships since its inception in 1983. The first Championships were held in 1983 in Raleigh, North Carolina with sis bands participating in two sections. The top bands were the Smoky Mountain Band and the North Carolina State University British Brass Band. The second NABBA Championships were held in West Chester, Pennsylvania. A total of nine bands competed in two sections. Winning bands on this occasion were the Gramercy British Brass of New York and the Sunshine Brass from Tampa, Florida. The 1985 North American Brass Band Association Championships were held in Toronto. Twelve bands were in attendance entered in two sections and the results 21 vere the same as the previous year. Championships IV vas held in Jndianspolis. Eleven bands vere entered in three sections. Top honors vent to the Brass Band Of Columbus from Columbus, Ohio, the Sunshine Brass and the North Carolina State University British Brass. Dublin, Ohio vas the site of the 1987 Championships. A record total of fourteen bands vere entered in four sections. Judged the best that day vere the Brass Band Of Columbus, the W&AL British Brass Band from North Carolina, the Eastern lova Brass Band and the Varsity All-Star Brass from Columbus, Ohio. The venue for NABBA Championships VI vas in Hammonton, Nev Jersey. There vere four sections comprised of a total of eleven bands. Top avards again vent to the Brass Band Of Columbus, the WRAL British Brass Band, the Eastern lova Brass Band and the Varsity All-Star Brass Band. The 1989 Championships vere held in Asheville, North Carolina. Nine bands entered in three sections. Winning bands vere the WRAL British Brass Band, the Eastern lova Brass Band, and the North Carolina State University British Brass Band. Paul Droste and his Brass Band Of Columbus vet e not eligible to compete due to their attainment of the first “hat-trick" in NABBA history in the Championship Section. They vere invited hovever to present a Gala Band performance on contest night. Championships VIII vas held in Pittsburgh at the historic Carnegie Music Hall, home of one of the fev professional brass bands in North America - The River City Brass Band directed by Robert Bernat. The contest vas expanded to five sections vith thirteen bands entered. Top recognition vent to the Brass Band Of Columbus, the Eastern lova Brass Band, the Ohio Collegiate Brass from Columbus, the River City Youth Brass and the Varsity All-Star Brass Band. The 1991 Championships vere held in Cedar Rapids, lova. Ten bands vere entered in five sections. Gaining top recognition vere the Brass Band Of Columbus, the Ohio Collegiate Brass, the Milvaukee British Brass Band, the University of 22
Northern Iowa Brass Band and the Varsity All-Star Brass Band. The North American Brass Band Championships have had much the same effect on the brass band movement in the United States and Canada as have the contests in England. Even though there are not as many bands as there are in England entering the contests, the goals of higher musical standards, quality repertoire, standardized instrumentation, increased public awareness of the brass band movement, etc. are all being achieved by those ensembles participating. Due to the relative infancy of the current movement, very likely the most important aspect of the NABBA competitions to bandsmen is that it provides an opportunity for them to get together with other brass band enthusiasts, share the music, exchange ideas and concerns, socialize, and celebrate the fact that they are indeed part of a rich, proud tradition.
The Role of Competitions in the Brass Band World
"The brass band contest is the one and only successful rival to the football match in the affections of a certain section of the British public... Its home is in an English Bohemia which lies between the Trent and the Tweed.” George Millar; The Military Band, 1912. (Taylor, 1979)
It is well documented throughout history that there has always been some type of competitive activity. This sense of competition has, in most instances, proven to be stimulating to those involved and furthermore, actually contributed to the progress and development of mankind. Today, in England, hundreds of bands participate in elaborate, highly organized contests, while in North America ten to twelve bands participate in the annual contest. Contests are divided into different sections (classes) based on the difficulty of the "test" piece, which is a required piece of literature that must be included in the 23 program of ail of the contestants in that given section. Highly qualified adjudicators are employed to evaluate the ensembles, both in writing and on audio tape. Currently, most judging is done from an adjudicator's "boz" which isolates the judges from the audience and makes it impossible for them to identify which band is on the performance stage. This helps to insure unbiased adjudicating and honest results. There is considerable literature available addressing the role and value of competition in American music education, but for nearly every positive statement, one can also find a negative view. However, the role of competitions in the brass band world is usually regarded in a positive manner in virtually all of the literature. Brass bands became involved in competition during the very early stages of their development as musical ensembles. The British Open Championships began in 1853 (Brand, 1979), with other local contests beginning well before that. Since nearly every community had a band or bands, contesting served as a method of establishing "bragging rights" about the quality of one's favorite ensemble. It was fairly commonplace for some bands to have literally hundreds of followers when traveling to an important contest, much like the fanatical following of drum and bugle corps and sports teams in the United States. American music educators do agree that participation in contests can have certain advantages and disadvantages for the participants. The major disadvantage however, seems to be the result of a poor philosophy by the participating members of a particular ensemble regarding their reason for competing. It is this author's opinion that one must approach all musical competition with the goal being to perform to the best of one's capabilities, and if the level of achievement is higher than, or lower than, the level reached by another, then so be it. The real reward is in the effort to become better, or reach a certain goal. Perrins (1984) offers this observation as it relates to brass banding; 24
"Contesting is a means to an end - not the end itself; it provides incentive for greater effort and ideally makes available independent, constructive criticisms of performance, besides valuable experience in meeting and hearing fellov musicians. Repertoire, technique and musicianship generally can be enhanced in this vay, and morale may be boosted too when success is achieved! The growth of the Brass Band Movement owes much to contesting, not least because of the introduction of new music and raised standards of musicianship, and the Movement would be poorer without it."
History supports the notion that brass banding did benefit from its involvement in competition. Avis (1%9) in his discussion of brass band contesting noted:
" certainly one good thing has come of it: an extraordinarily high level of technical proficiency. The “second section" bands and "third section bands are musically efficient, but the best bands, the bands which year after year compete for the top place, achieve a standard of playing which must be heard to be believed, especially considering their amateur status."
Brass banding has always been as much a social activity as a musical one for the participants. Contesting has helped make this bond even siionger. Hazelman (1961) supports this in his observations of contesting when he states that "the feeling of pride that these men feel for the band is fierce and exciting to behold." Based on previous statements, it is logical to surmise that brass band competitions have been, and still are, one of the most important factors in the success of the British brass band movement. Newcomb (1980) concurs, but also implies that higher musical standards, consistent instrumentation and quality repertoire are but a small part of the benefits:
"Although contest winners naturally take pride of place, it is not the champion bands that form the backbone of the movement. The overall strength of the movement lies in the thousands of men, women and children who play in bands for a hobby and who have little, if any, interest in competitive work. In making music for their own entertainment and enjoyment, they render a valuable community service." 25
Brass Band Or£anÎ 2 ation. Recruitment and Training Methods There is a considerable amount of literature, in the form of books and articles, available dealing vith the organization of brass bands, and the recruitment and training of brass musicians. Perhaps the best books addressing the organization of a brass band in North America are those by Perry Watson - Starting A British Brass Band (1984) and The Care and Feeding of a Community British Brass Band (n.d.). In both books, Watson gives practical tips on organization strategies, repertoire, etc. in a rather entertaining manner:
"First, let's start by gathering together the ingredients vhich might be considered the most important (for the time being ve vill omit personalities and titles). For a starter, let's consider the folloving recipe: get an ample supply of ORGANIZATION, mix in a goodly amount of MOTIVATION (stimulation), carefully add a full dose of VISIBILITY and blend in just the right amount of ACCESSIBILITY. This recipe is not entirely foolproof; that is, the ingredients are proper and correct, but the manner in vhich they are blended and mixed together, coupled vith including just the right amount of seasoning knovn as FINANCES, vill make all the difference in the final diet vhich the community British brass band vill use."
There are also journal articles by Droste (1986), Flor (1986) and Hind (1956/57) that vould serve as valuable resource material for anyone starting a brass band. There is a multitude of material dealing vith the training of brass musicians, but perhaps the most interesting aspect of this literature is the contrast found betveen the recruiting and training of brass band musicians in England and the recruiting and training of public school vind band musicians in the United States. Due to its "social" nature, the brass band movement in England has basically relied upon itself for the recruitment and training of musicians. There is very little instrumental music taught as a part of the school curriculum and certainly none like the extensive school training found in this country. Johnson (1979) notes that in England "young people must seek out brass players vho are viliing to give lessons ' 26 in order to participate in the brass bands. Historically, nev members of most brass bands vere often relatives or acquaintances of current band member vho vere sought out and trained by the current members to fill openings in the ranks. In effect, the band recruited the band, and even assisted in the training - a definite contrast to instrumental music education in this country vhere the band directors are charged vith the recruiting and training of their ensembles. (It should be noted however, that members of some of the finest school bands in this country do recruit in a sense, through their performances, and in programs vhere older band members give private lessons to beginning members, actually help in the training.) The 1%0’s and 1970’ssav an increase in music education in British schools, but oddly enough, this seemed to have little effect on the brass bands. Students were looking at music-making as more of a school curriculum activity than as a social activity vith life-long advantages and opportunities (much like students in this country). It was about this time that a teenage youth brass band movement began. Several of the composers of the day had written compositions for less proficient ensembles and youth sections were added at some of the contests. Several of the adult bands helped sponsor these groups and in essence used them as "feeder" bands to help insure continued membership in their own ensembles. Where music education in this country is thought of as a school curriculum activity, the brass band in England closely resembles practices found in industry. In many cases, new recruits are brought in and seated by older, more experienced players so that they can "learn the ropes." In other words, an atmosphere of learning and sharing vith others is created. Thompson (1985) describes it in these terms:
"Anyone who has undergone this kind of learning vill know that it is casual, opportunistic; learning advances tend to come irregularly - but 27
then they do in any case. It can also be an expedient, enjoyable mode of learning. Vhat is experienced can often be retained in a vay that solitary learning cannot, undoubtedly because of the social context in which it takes place, and because the experiences are shareable. It is as if such shared experiences stimulate the mind in a way that is different from individual learning. It turns you out of yourself."
Finally, one cannot address the contrasts in training and recruiting methods without examining the results of them. School instrumental music programs in this country train fine musicians who, after years of instruction, have little desire to continue playing due tc a variety of reasons, including a lack of opportunity, but one must speculate that a significant factor is a social/cultural one. Quite possibly, the lack of opportunity for adult amateur music making in this country is really caused by the lack of desire by adults to want to do so. The brass band movement though has been able to cultivate continuing instrumental music participation at the adult level by the amateur musician. An important point is made by Watson (1980 in his discussion of the success of the brass band movement - "playing music for love rather than pay is considered a key element in the entire operation." Johnson (1979; supports this position and expands upon it in this manner:
"It would be easy for the American music educator and band conductor to dismiss the British brass band movement as being amateur, provincial, trapped by its own traditions, and overly motivated by the desire to win. The truth of the matter, however, is that there is much to be learned by a careful study of the activities of these highly skilled, enthusiastic, fun-loving bandsmen. Finally, for some reason we have the idea in this country that playing in a band is strictly a school activity. Just think of the thousands of people each year who graduate from our high schools and colleges who, after having almost 10 years of professional instruction, sell their instruments or store them in the attic. We are one of the few countries in the world where instrumental music is taught as part of the school curriculum and yet we seem unable to create a vast amateur interest in instrumental performance beyond the age of 22. After my visit to England I am convinced that we are capable of having hundreds of adult bands that would be equal to the finest British brass bands, and these bands could even make our university and high school bands sound like the youthful organizations they really are." CHAPTER III PROCEDURE
PopulatioQ
The population chosen for this study vas composed of all the brass band condu ctors/directors in the United States and Canada vhose names and addresses vere available through the officers and associates of the North American Brass Band Association, and other sources deemed appropriate by the author. These condu ctor/directors and their bands hovever, did not need to be members of the North American Brass Band Association.
Survey Questionnaire
The data-gathering process required the use of a short ansver survey questionnaire entitled North American Brass Band Survey (see Appendix A). This instrument consisted of sixty-eight questions - in short ansver, multiple choice and Likert scale form. The first tventy-five questions, in both short ansver and multiple choice form, dealt vith band origins, membership demographics, and instrumentation. (Questions 26 through 43 vere in multiple choice form, addressing the issues of organizational structure and rehearsals/performances. The remaining questions, utilizing a five-point Likert scale (SA=Strongly Agree, A=Agree, U=Undecided, D=Disagree, SD=Strongly Disagree) as veil as multiple choice options, vere concerned vith public/community support, repertoire, the impact of the North
28 29
American Brass Band Association, and general considerations about the brass band movement. A cover letter accompanying the questionnaire provided an explanation of the purpose of the study and the intended use of the data gathered (see Appendix B). The questionnaire vas designed to be easily read and completed, requiring a minimal amount of vriting by the respondents. The questions required either a short written ansver or the circling of an appropriate response from a set of choices. The survey questionnaire vas designed to be completed in approximately 20 minutes. The rationale for the design of the questionnaire vas tc make its completion as easy and efficient as possible, thus helping to insure s greater reply by the sample population.
Development of the Survev Questionnaire
A draft of the survey questionnaire vas examined by three faculty members vith vind band experience in the School of Music at The Ohio Stats University. These professors vere asked to read and evaluate the questionnaires. Suggestions for improvement vere given, resulting in subsequent adjustments vith in the primary instrument of measurement. The effectiveness of the questionnaire vas also tested by obtaining evaluations and comments from three brass band musicians selected on their reputations as outstanding conductors, performers and educators (see Appendix C). These professionals vere asked to evaluate the instrument of measurement on the folloving factors: (1) length of time needed to complete the questionnaire, (2) content clarity - do the questions seem clear and unambiguous? (3) response clarity - do the choices given as possible answers to the questions seem clear and logical? (4) form and design - are the questions and responses arranged in an easy to follow sequence? (5) overall rating - the evaluators were asked to give a rating of one to five based on 30 their reaction to the entire survey instrument, with one being the lowest possible rating and five being the highest. Finally, the evaluators were asked to commenton any portion of the questionnaire which was felt to be in need of revision. Comments from the evaluators were then used to revise the questionnaire for the main study. As can be observed in Table I, the questionnaire was given a mean overall rating of 4.667 on the one to five Likert scale, with "1“ equaling a low overall rating, and "5" indicating a high rating. The mean time of completion of the questionnaire was 22:30. Concerning the issues of ambiguity and clarity, clear and logical answer choices, and sequencing and design, 100% of the evaluators indicated positive responses.
Table 1 Survey Questionnaire Validation Results
Validation I Question 1 (time) ^ lio 2 (clarity) 100.0% Yes 3 (sequence) 100.0% Yes 4 (design) 100.0% Yes 5 (overall) 4.667
Based on the results of the validation procedure, the questionnaire was determined to be an acceptable instrument for the collection of data. Comments provided by the evaluators were used to clarify the meaning of several questions. The revised questionnaire was then finalized and prepared for the main study. 31
Procedures
The North American Brass Bsad Survey was raaiied to each brass band conductor/director included in the population of 108 individuals. A cover letter explaining the purpose of the study and intended use of the data, as veil as completion and return dates, accompanied the questionnaire. A self-addressed stamped return envelope (or an envelope vith International Business Reply Coupons attached for those individuals in Canada) vas provided vith each survey packet. All packets vere mailed via the United States Postal Service to each conductor/director in the population. Each respondent vas asked to return the
completed questionnaire vithin three veeks of the date received; a reminder letter, vith a response form and self-addressed stamped return envelope included (see Appendix D). vas mailed to all participants tvo veeks later. A second survey packet and updated cover letter (see Appendix £) vas mailed to each of the non-respondents one and one-half veeks after the original deadline, vith a request to return the completed questionnaire vithin tvo veeks of receipt. Also, prior to the final survey deadline, attempts vere made to contact all non-respondents by telephone directly, or through an associate, to encourage continued participation in the study. In addition, an article (see Appendix F) vas submitted to The Brass Band Bridge. the official publication/nevsletter of the North American Brass Band Association, explaining the purpose of the study and encouraging individuels to participate. The article vas printed in the August, 1991 publication (Issue 45).
Treatment of the Data
As completed questionnaires vere received, each vas assigned a code number and cross-referenced vith other names and addresses in the population to avoid 52 duplication. Data from each of the questionnaires vas tabulated and recorded, and a directory (see Appendix G) of all respondents, including their respective brass bands (if applicable), and non-respondents, vas recorded into master compilations. Also included vas an alphabetical listing of all brass bands (see Appendix E) represented by the respondents vith a listing by state/province as veil. Responses from the questionnaires vere then treated individually generating means, frequencies, and percentages; as veil as detailed background/historical information concerning each band. CHAPTER IV PRESENTATION OFTHE DATA
The purpose of this research vas to examine the present status of the brass band movement in North America, To accomplish this, a survey instrument targeting conductors/directors of brass bands vas designed to address pertinent issues including the folloving:
1. Band origin; 2. Membership demographics; 3. Instrumentation: 4. Organizational structure: 5. Rehearsals/performances: 6. Public/community support: 7. Repertoire: 8. The North American Brass Band Association: 9. General considerations regarding the brass band movement.
33 34
This chapter is organized into tvo sections representing data from the following sources: (1) basic information, origins, membership demographics and current instrumentation, vhich is presented in the form of a "case history" for each band; and (2) data based upon the responses of the participating brass band conductors/directors regarding membership demographics, organizational structure, rehearsals/performances, public/community support, repertoire, The North American Brass Band Association, and other general considerations. It should be noted that in the presentation of the data, all percentages will be carried to one place beyond the decimal point. As a result of this rounding, total percentages may in fact exceed 100%. It should also be mentioned that this study did not originally intend to include Salvation Army Bands, because of their unique origins and functions as a performing ensemble (stated in the Limitations section of Chapter I). However, three of the individuals included in the population were indeed conductors/directors of Salvation Army Bands and since they were gracious enough to take the time to complete and return the survey questionnaire, it was the author's decision that their responses be included in the study as a matter of courtesy.
Results from the Survey Questionnaire
The data in this section were obtained from administration of a survey questionnaire to a population of 108 potential brass band conductors/directors from throughout the United States and Canada. Of the total population, 86 (79.6%) responded by completing and returning the survey questionnaire before the final deadline (see Table 2). 35
T ^ le 2 Survey Questionnaire Response Da^a
Population Response (N) Response (%)
Conductors/Directors 108 86 79.6%
As can be seen in Table 2, the response to the survey questionnaire was outstanding, perhaps due, in part, to the uniqueness of the study and the fact that most brass band enthusiasts are eager to help promote the brass band activity. Table 3 identifies the number of respondents who indeed do conduct brass bands as well as those who indicated that they do not conduct brass bands, while also identifying the number of non-respondents.
Tables Survey Respondent Data
Population Response (K) Response (%)
Conductors of Brass Bands 108 62 57.4% Not Conductors of Brass Bands 108 24 22.2% Non-Respondents 108 22 20.4%
A list of the brass band conductors/directors and their respective bands represented in the population is presented in Appendix G, as well as lists of respondents who conduct brass bands, respondents who do not conduct brass bands, and non respondents who failed to complete and/or return the survey questionnaire by the final deadline. 36
It is unknown at this time if the individuals listed on the non-respondents list are conductors/directors of brass bands, or if any of the brass bands listed do indeed continue to esisl.
Basic Information from the North American Brass Band Survey
The information presented on the following pages regarding each brass band is a compilation of the conductor's/director's responses regarding their brass band in the areas of basic background information, band origins, membership demographics and current instrumentation (including most popular brand of instrument used in each section if indicated by the respondent), all of which were addressed in some fashion in items 1 through 23 of the survey questionnaire. The individual brass bands are presented in alphabetical order by band name. It should be noted, that in a few cases, the responses given on the survey questionnaire were not actually from the conductor/director but instead from a band member (manager, officer, etc.) due to the unavailability (travel, resignation, etc.) of the conductor/director at the time of the study. All actual respondents for each band are indicated in Appendix G. 37
ADVOCATE BRASS BAND Danville, Kentucky
George Foreman, Conductor
The Advocate Brass Band, under the direction of George Foreman, was formed in 19S7 as a re-creation of a turn-of-the-century American town band. The band performs music by Sousa, Pryor, and others written during what many consider as the Golden Age of American Bands (1890-1920). There were 19 members in the original band and it has now grown to a participating membership of 33. drawing its membership from a broad range of ages and professions, similar to the town bands of a century ago. All of the current members have had high school and college instrumental music training, 10 of the members are current or former music educators, and 3 of the members are current or former professional musicians. The members of the Advocate Brass Band are financially compensated for their time spent in the ensemble. There are no participation fees required of the members and each member is supplied with their own band uniform. The band is entirely sponsored and funded by The Advocate-Messenger newspaper of Danville, Kentucky. Listed below is the band's current instrumentation. The £ flat cornet and the E flat alto horns are supplied by the band while the members of the en%mble provide the trombones, euphoniums and tubas. The band and the members combine to supply the B flat cornets, percussion and woodwinds.
1 - E Fiat Cornet (Yamaha) 2 - Euphoniums (Besson) 2 - Solo/lst B Flat Cornets (Schilke) 1 - E Flat Tuba (Yamaha) 2 - 2nd B Flat Cornets (Yamaha) 1 - B Flat Tuba 2 - 3rd BFlat Cornets (Yamaha) 4 - Percussion 5 - E Flat Alto Horns (Yamaha) 5 - Clarinets (Yamaha) 6 - Tenor Trombones (King/Bach) I - Piccolo 1 - Bass Trombone (Yamaha) 38
ALLEGHENY BRASS BANT) Monroeville, Pennsylvania
John Culp, Conductor
The Allegheny Brass Band was formed in 1984 as an approximately 30-member ensemble under the leadership of John Culp. The original band, known as the North Hills Brass Band, was the outgrowth of a workshop for adult musicians sponsored by the River City Brass Band of Pittsburgh. The 32-member band now gives its own concert series each season and presents concerts throughout the area at parks, schools, and other locations as well. The Allegheny Brass Band has also performed with distinction at several North American Brass Band Association Championship competitions. Approximately 25 of the members have had high school instrumental music training while 8 have also had college instrumental music training. There are 4 current or former music educators in the ensemble and 3 current or former professional musicians. Members of the band are not financially compensated for their time spent performing in the group and they are asked to pay a participation fee to help cover expenses, etc. as well as provide their own uniform (matching attire/formal wear) for the performances. The band supplies the E flat cornet, the alto horns, and some of the trombones, tubas, and percussion equipment The members provide the remainder of the band instrumentation which is listed below.
1 - E Flat Cornet (Yamaha) 4 - Tenor Trombones 5 - Solo/lst BFlat Cornets/Trumpets 1 - Bass Trombone 3 - 2nd B Flat Cornets/Trumpets 2 - Baritones 4 - 3rd BFlat Cornets/Trumpets 1 - Euphonium (Besson) 1 - Repiano Cornet 3 - E Flat Tubas (Boosey ) 1 - Flugelhorn (Benge) 1 - BFlat Tuba 3 - E Flat Alto Horns 2 - Percussion 39
ATLANTIC BRASS BAND Hammonton. New Jersey Anthony Guerere, Conductor
The Atlantic Brass Band, currently under the direction of Anthony Guerere, was formed in 1984 with 28 members. The band, originally known as the Wheaton Brass Band, was formed under the baton of Owen Metcalf and owes its inspiration to the factory brass bands of England. The 38-member band is an all volunteer ensemble made up of top amateurs and unpaid professionals from Delaware, New Jersey and Pennsylvania. All of the members have had high school instrumental music training, 20 have had college instrumental music training, and 12 are current or former music educators. The band, which bills itself as a uniquely American all-brass concert band in the British style, has become known for its spirited performances and high standards of musicianship throughout North America and Great Britain, and is recognized as one of the finest concert brass bands in the United States. There are no participation fees for membership in the band and members supply their own uniforms (matching blazers) and instruments, with the exception of the percussion equipment which is supplied by the band. The band's instrumentation is as follows:
1 - E Flat (hornet 4 - Tenor Trombones 5 - Solo/lst B Flat Cornets 1 - Bass Trombone 3 - 2nd B Flat Comets 4 - Baritones 3 - 3rd B Flat Cornets 2 - Euphoniums 1 - Repiano Cornet 2 - E Flat Tubas 1 - Flugelhorn 3 - B Flat Tubas 6 - E Flat Alto Horns 2 - Percussion 40
BAINBRIDGE BRITISH BRASS BAND Bainbridge, Georgia Dr. Edward D. Mobley, Conductor
The Bainbridge British Brass Band was formed in November of 1986 under the leadership of Dr. Edward D. Mobley. For several years prior to its formation, Dr. Mobley, President of Bainbridge College, and band director William Widener had organized a small band of brass players to play for the singing of carols in a restored gazebo in the town square on ChristmasEve. The popularity of this activity prompted Mobley to suggest to Sam Griffin, local publisher of the Bainbridge Post-Searchlight newspaper, that the time was right for the formation of a town band that would have the character of the town bands of old, yet the musical sophistication to attract good musicians. This turn of events led to the formation of the original 20-member band. There are currently 25 -30 participating members in the band, believed to be the only one of its kind in Georgia. All have had high school instrumental music training, 11 have had college instrumental music training and 4 are current or former music ed >cators. It is basically a volunteer organization with members being required to pay a participation fee, as well as supply their own matching attire for performances. The band performs on a matched set of Yamaha silver instruments (except trombones) provided by their sponsor, the Bainbridge Post-Searcblight. The instrumentation is as follows;
1 - E Flat Cornet 2 - Tenor Trombones 4 - Solo/lst B Flat Cornets 1 - Bass Trombone 2-2nd BFlat Cornets 2 -Baritones 2 - 3rd B Flat Cornets 2 - Euphoniums 1 - Repiano Cornet 2 - E Flat Tubas 1 - Flugelhorn 2 - B Flat Tubas 3 - E Flat Alto Horns 1 - Percussion 41
BEEHIVE BRITÎ3E BRASS BAND Hooper, Utah
David L. Runyan. Conductor
The Beehive British Brass Band is presently under the leadership of their eighth director, David L. Runyan, The original band, conducted by Jack Wynn, had 18 members and was known as the Capitol English Brass Band (with the name later being changed to the Capital English Brass Band). The Beehive British Brass Band currently has 20 participating members in the ensemble. A total of 9 members have had some form of high school instrumental music training while 4 members have had college instrumental music training. There is 1 member who is a current or former music educator and 2 members who are current or former professional musicians. The band is strictly a volunteer group with none of the members receiving financial compensation for their time spent as a member of the ensemble. There are no participation fees required of the membership, and members supply their own uniforms (matching blazers, etc.) for performances. Members also provide their own instruments, with the exception of the E flat alto horns which are available through the band. The band's instrumentation is as follows:
1 - E Flat Cornet 3 - E Flat Alto Horns 3 - Solo/lst B Flat Cornets 3 - Baritones 2 - 2nd B Flat Cornets 1 - Euphonium 1 - 3rd B Flat Cornet 1 - E Flat Tuba 1 - Repiano Cornet I - B Fiat Tuba 1 - Flugelhorn 2 - Percussion 42
BLOOMINGTON BRASS BAND Bloomington. Indiana Alan K. Oison, Conductor
The Bloomington Brass Band, presently under the direction of its fourth conductor, Alan E. Olson, was organized in the spring of 1983 by music student and brass band enthusiast David Witt. The approximately 15-member band gave its first formal concert the following fall under the baton of David Pickett, a native of Yorkshire, England, who was at the time. Director of Recording Arts in the University of Indiana School of Music. The Bloomington Brass Band currently has 15 participating members, all of which have had high school instrumental music training. There are presently 4 members who have had college instrumental music training, I member who is a current or former music educator, and 1 member who is a current or former professional musician. Band members are not awarded any kind of financial compensation for their membership in the band, nor are they required to pay any type of participation fee as a member. Members supply their own matching attire for performances, as well as the majority of the low-brass instruments found in the band. The cornets, the baritone and one of the tubas are supplied by the band, the conductors personal stock of instruments, or from his school of employment. Listed below is the band's current instrumentation.
1 - E Flat Cornet (Yamaha) 2 - Tenor Trombones 2 - Solo/lst B Flat Cornets (Yamaha) 1 - Baritone (Yamaha) 1 - 2nd B Flat (^rnet (Yamaha) 1 - Euphonium (Yamaha) 1 - 3rd B Fiat Cornet (Yamaha) 2 - B Flat Tubas 1 - Flugelhorn (Besson) 3 - E Flat Alto Horns (Yamaha/Besson) 43
BLUE RIDGE BRASS & PIPE BAND Newland, North Carolina James Laughridge. Conductor
The Blue Ridge Brass & Pipes is under the direction of James Laughridge of Avery High School. Formed in 1984, the 32-member band is a re-creation of a traditional Scot musical group, originally conceived and created by Robert Blue for, and as a part of, the Scot heritage of the Appalachian-Blue Ridge area. The band, composed of the Blue Ridge Brass (selected students from Avery High School) and the Montreal Pipes & Drums of the Asheville area led by Pipe Major, Joe Bailey, is made up of 20 high school students with the remainder of the membership being adults. This unique ensemble has received acclaim from its appearances throughout the area and surrounding states. There are no participation fees required of the members and each is furnished vith a band uniform. Members of the band supply their own trumpets, trombones, and bagpipes, while the band provides the alto horns, bass trombone, euphoniums, E flat tubas, 6 flat tubas and percussion. Listed below is the band's current instrumentation.
2 - Solo/lst 6 Flat Cornets (King/Bach) 2 - Euphoniums (Yamaha) 2 - 2nd B Flat Cornets (King) 1 - E FlatTuba (Boosey & Eawkes) 2-3rd BFlat Cornets (King) 3 - BFlatTubas (Conn) 4 - E Flat Alto Horns (King) 4 -Percussion 3 - Tenor Trombones (King) 6 - Bagpipes 1 - Bass Trombone (King) 44
BRASS BAND OF BATTLE CREEK Battle Creek, Michigan Ken Bioomquist and Jim Gray. Conductors
The Brass Band Of Battle Creek under the direction of Ken Bioomquist and Jim Gray, was formed in 1989 as a 28-member ensemble under the guidance of Dr. Paul Droste, director of the Brass Band Of Columbus (OH). There are currently 49 participating members in the band. All have had both high school and college instrumental music training. There are presently 31 members who are current or former music educators, and 6 members who are current or former professional musicians. Members are financially compensated for their time spent as a member of the ensemble. There are no participation fees required and members provide their own attire (dress clothes) for the performances. Funding is from a foundation and, to date, the band has performed one concert per year. Members of the band provide their own instruments, however the band does provide some of the cornets, alto horns, baritones, tubas and percussion. Listed below is the band's current instrumentation.
1 - E Flat Cornet (Yamaha) 5 - Tenor Trombones (Bach/Yam.) 5 - Solo/lst 5 Fiat Cornets (Yamaha) 2 - Bass Trombones (Bach/Yam.) 5 - 2nd B Flat Cornets (Yamaha) 4 - Baritones (Yamaha) 6 - 3rd B Flat Cornets (Yamaha) 4 - Euphoniums (Yam./Boosey ) 1 - Repiano Cornet (Yamaha) 2 - E Flat Tubas (Yamaha) 2 - Flugelhorns (Bach) 4 - B Flat Tubas (Yamaha) 7 - E Flat Alto Horns (Yamaha) 4 - Percussion 1 - Harp 45
BRASS BAND OF COLUMBUS Columbus, Ohio Dr. Paul Droste. Conductor
The Brass Band Of Columbus (BBC) was formed in 1984 by Dr. Paul Droste, Professor of Music at The Ohio State University and former director of the all-brass and percussion Ohio State University Marching Band. While the original band had 30 members, the band has since grown to its present size of 37 participating members, drawing its membership from a wide range of backgrounds and professions. The Brass Band Of Columbus has received acclaim for its fine performances throughout Ohio and the surrounding states, as well as for its achievements in competition at the North American Brass Band Championships (BBC was first place in the Championship Section in 1986,1987,1988,1990 and 1991). All 37 of the members have had both high school and college instrumental music training, 29 of the members are current or former music educators, and 10 of the members are current or former professional musicians. None of the members of the ensemble receive financial compensation, nor arc they required to pay any form of participation fee. Members are supplied with a formal uniform (blazers, etc.) for their performances. Members also supply the majority of the instruments, with the band providing the alto horns, baritones and a few of the cornets. Listed below is the band's current instrumentation.
2 - E Flat Cornets (Getzen) 4 - Tenor Trombones (Conn) 5 - Solo/lst BFlat Cornets ((îetzen) 1 - Bass Trombone (King) 2 - 2nd B Flat (hornets (Getzen) 3 - Baritones (Yamaha) 2 - 3rd BFlat Cornets (Getzen) 3 - Euphoniums (Yamaha) 1 - Repiano Cornet (Getzen) 2 - E Flat Tubas (Yamaha) 2 - Flugelhorns (Yamaha) 3 -BFlatTubas 4 - E Flat Alto Horns (Yamaha) 3 - Percussion 46
BUFFALO SILVER BAND Buffalo. New York Michael Russo. Conductor
The Buffalo Silver Band is presently under the baton of Michael Russo. The band was started as a 7-piece ensemble in 1915. under the direction of George Beke. to augment the Sunday evening services of the First Hungarian Baptist Church in Buffalo. The band's original name was The Hungarian Baptist Band and it later became known as the Austin Street Baptist Band and the Buffalo Silver Baptist Band. The Buffalo Silver Band is well known for its performances throughout the area and for its appearances in competitions (the International Brass Band Competition at the Canadian National Exhibition in 1972,74, 75 and in a North American Brass Band competition in the mid 1980's). There are currently 23 participating members in the band, all of which have had high school instrumental music training. Included on the roster are 10 members who have had college instrumental music training. 5 members who are current or former music educators, and 2 members who are current or former professional musicians. Band members do not receive any kind of financial compensation nor are they required to pay any type of participation fee to be a member of the ensemble. Members are asked however, to provide their own matching attire (blazers, etc.) for their performances. The members also supply most of the instruments, with the band providing some of the cornets, alto horns and percussion equipment. Listed below is the band's current instrumentation.
1 - E Flat (nrnet 2 - Tenor Trombones 3 - Solo/lst BFlat Cornets 1 - Bass Trombone 2 - 2nd B Flat (hornets 2 - Baritones 2 - 3rd B Flat Cornets 2 - Euphoniums 1 - Repiano Cornet I - E Flat Tuba 1 - Flugelhorn I - B Flat Tuba 2 - E Flat Alto Horns 2 - Percussion 47
CAMP REYNOLDS REGIMENTAL BRASS BAND Angel Island, California Arlen Philpott, Conductor
The Camp Reynolds Regimental Brass Band, led by Bandmaster Arlen Philpott, vas formed as a 5-member ensemble in 1986 by members of Marin s Nova Albion Brass to help bring attention to the Angel Island Association, vhich encourages public awareness of the island park and its history. Camp Reynolds dates from 1863 when the Ü.S. Army fortified several bluffs against possible Confederate invasion of the Bay area. The band's repertoire includes American Brass Band music of the nineteenth and early twentieth century (marches, quicksteps, waltzes, polkas, ballads, songs, hymns, and patriotic airs). The Camp Reynolds Regimental Band's membership, currently numbering between 5 to 12 participating members, is made up of volunteers who have joined with the Nova Albion Brass to perform on occasions called for by the Angel Island Association. All of the members have had high school instrumental music training, 5 members have had college instrumental music training, 3 are current or former music educators, and 2 are cuiTent or former professional musicians. Members of the band are not required to pay any type of participation fee to be a part of the ensemble. The members do provide, with supplements from the bandmaster, the band uniform (period costume) for performances. The band members also provide the majority of the instruments, with the band providing a few where needed (cornet, alto horns, tuba and sousaphone). The ensemble’s instrumentation is listed below.
1 - E Flat Cornet (Yamaha) 1 - Tenor Trombone 1 - 1st BFlat Cornet/Trumpet (Bach) 1 - Euphonium (Wilson) 1 - 2nd BFlat Cornet/Trumpet (Getzen) 1 - BFlat Tuba (Mirafone) 3 - Alto/French Horns (Conn) I - Sousaphone (King) 48
CHESTER BRASS BAND Chester. Nova Scotia Ron Murphy, Conductor
The Chester Brass Band was first organized by John Smith as a 16-member ensemble in 1873. and in 1906 became incorporated as the Chester Cornet Band, performing as a concert band vith a complement of woodwinds, brass and percussion. The band later re-organized and reverted to its original all-brass instrumentation, and recently, has enjoyed critical acclaim as one of the leading community music ensembles in Nova Scotia. The Chester Brass Band has drawn large and enthusiastic audiences to their public performances, been broadcast by the Canadian Broadcasting Corporation, issued commercial recordings, and appeared on television several times. In 1989, the band opened its own rehearsal and performance hail, with an adjoining band shell. Presently, Ron Murphy serves as the eleventh director of the now 26-member ensemble. There are 25 members who have had high school instrumental music training, 8 members have had college instrumental music training, and 4 of the members are current or former instrumental music educators. Members are not given any type of payment for performing in the band, but they are required to pay a participation fee to be a member. The band treasury provide each member with matching attire (blazers, etc.) for the performances. The band owns all of the instruments, with the exception of the trombones. The band instrumentation is as follows:
1 -E Flat Comet (Besson) 3 -Tenor Trombones (Ring) 3 - Solo/lst BFlat Cornets (Sovereign) 1 - Bass Trombone (Bach) 1 - 2nd B Flat Cornet (Sovereign) 3 - Baritones (Reg./B&H/Yam.) 1 - 3rd BFlat Cornet (Sovereign) 2 - Euphoniums (Besson/Imp.) 1 - Repiano Cornet (Getzen) 2 -Erlat Tubas (Imp./B&E) 1 - Flugelhorn (Besson) 2 - B Flat Tubas (Imp./B&E) 4 - E Flat Alto Horns (Sovereign ) 2 - Percussion 49
CLASSIC BRASS Wethersfield, Connecticut David Edvards, Conductor
The Classic Brass is presently under the leadership of its fourth conductor, David Edvards. The band vas formed in 1985 by David Maker, vith a membership of 35 individuals and a strictly British-style instrumentation. The current band has shifted from the British brass band concept into a version vith a smaller instrumentation and an emphasis on other types of music. There are currently 15 members in the ensemble, all of vhom have had both high school instrumental music training and college instrumental music training. There is 1 member of the band vho is a current or former music educator and 2 members of the ensemble are current or former professional musicians. Members of the Classic Brass are not financially compensated for their time in the ensemble and members are required to pay a participation fee to maintain their membership. The individual members supply their ovn matching attire to vear at their performances. Ail of the instruments used in the band are supplied by the participating members. The band's instrumentation is listed belov.
8 - B Flat Cornets/Trumpets 1 - B Flat Tuba 2 - AltoÆrench Horns 2 - Alto Saiophones 2 - Euphoniums 50
COLUMBIA BRASS BAND Columbia. South Carolina Fred ¥ . Teuber, Conductor
The Columbia Brass Band was formed as a 20-member ensemble in 1984 under the direction of Fred W. Teuber. There are 23 participating members in the current band, whose primary purpose is to provide quality music for the public (and players) during the summer months when other activities are at a low ebb. Most of the performances are held in the city 's parks featuring an expansive variety of repertoire. The band considers themselves to be a truly American brass band even though they do perform an abundance of British brass band music. All of the current members of the Columbia Brass Band have had both high school instrumental music training and college instrumental music training. There are 9 members who are current or former music educators, and 16 members who are current or former professional musicians. Even though the band has a limited budget, all members are treated as professionals (play for pay). Compensation is modest and as a result, most members play because they like to make music and enjoy being a part of the ensemble. There are no participation fees required and members provide their own attire for the performances. The band members provide their own instruments, with some of the percussion equipment being supplied by the band. The group's instrumentation is as follows :
1 - EFiat Trumpet (Bach) 2 - Tenor Trombones (Conn) 3 - Solo/lst B Flat Trumpets (Bach) 1 - Bass Trombone 1 - 2nd BFlat Trumpet (Bach) 3 - Euphoniums (Besson/Yam.) 1 - 3rd B Flat Trumpet (Schilke) 1 - F Tuba (Mirafone) 1 - Repiano Trumpet (Bach) 1 - C Tuba 1 - Flugelhorn (Yamaha) 1 - B Flat Tuba (Yamaha) 3 - French Horns 3 - Percussion 51
COMMONWEALTH BRASS BAND Louisville, Kentucky J. Jerome Amend. Conductor
The Commoavealth Brass Band, under the direction of J. Jerome Amend, was organized in the Spring of 1989. The initiative for the formation of the original 22- member ensemble was by professional and outstanding amateur brass musicians in the Louisville area who wished a unique opportunity to express their musicality. The current band of 38 musicians exists primarily for the performing enjoyment and musical expression of its members, and to further the British brass band tradition through performance. The present band has 31 members who have had high school instrumental music training, 23 members who have had college instrumental music training, 16 members who are current or former music educators, and 21 members who are current or former professional musicians. Members do not receive financial compensation for their roles in the ensemble nor are they required to pay any type of participation fee for membership. Individual members provide their own dress clothes/matching attire for the performances as well as the majority of the band instruments. The band does however provide the E flat alto horns and some of the baritones horns. The instrumentation of the Commonwealth Brass Band is listed below.
2 - E Flat Cornets 4 - Tenor Trombones 4 - Solo/lst B Flat Cornets 1 - Bass Trombone 2 - 2nd B Flat Cornets 2 - Baritones 3 - 3rd B Flat Cornets 2 - Euphoniums 2 - Repiano Cornets 2 - E Flat Tubas 2 - Flugelhorns 3 - BFlatTubas 6 - E Flat Alto Horns 3 - Percussion 52
CSU FRESNO BRITISH BRASS BAND Fresno, California Ritchie Clendeain, Conductor
California Stale University. Fresno has enjoyed a long tradition of outstanding wind and jazz ensembles. In 1988, Dr. Larry Sutherland (Director of Bands) encouraged Ritchie Clendenin to start a British brass band, which led in turn to the organization of the CSU Fresno British Brass Band. The band performed at the 1989 California Music Education Association Conference and in 1991 the ensemble hosted a North American Brass Band Association brass band workshop in conjunction with the Yamaha Corporation. The original band had 18 members. Student participation and interest has been outstanding for a college level elective ensemble, and the band now has a current roster of 21. There are presently 3 members of the band who are current or former music educators, and 7 members who are current or former professional musicians. Members of the band do not receive any type of financial compensation for performing in the group nor are they required to pay a participation fee (except for unit cost at CSU, Fresno) to be a member. Members are asked however to supply their own attire for performances. The university supplies some of the cornets and euphoniums, and all of the alto horns, baritones, tubas and percussion. The band members supply the remainder of the instruments required. Listed below is the band's current instrumentation.
1 - E Flat Cornet (Yamaha) 2 - Tenor Trombones (Conn ) 3 - Solo/lst BFlat Cornets (Schilke/Yam.) 1 - Bass Trombone (Conn) 2 - 2nd B Flat Cornets (Conn) 2 - Baritones (Yamaha) 1 - 3rd B Flat Cornet (Conn) 1 - Euphonium (Yamaha) 1 - Repiano Cornet (King) 1 - E Flat Tuba (Yamaha) 1 - Flugelhorn (Yamaha) 2 - B Flat Tubas (Yamaha) 2 - E Flat Alto Horns (Yamaha) 2 - Percussion 53
CT ADULT MUSIC SOCIETY M^schsstcr, Connecticut Karen Krinjak, Conductor
The CT Adult Music Society vas formed in 1988 by James Maker. There vas an original membership of 23 musicians in the ensemble. The band is presently ur.der the leadership of conductor Karen Krinjak. There is nov a total of 18 participating members in the band, all of vhom have had high school instrumental music training. Also included in the membership are 9 individuals vho have had college instrumental music training, 2 individuals vho are current or former music educators, and A individuals vho are current or former professional musicians. The members of the CT Adult Music Society are not avarded any type of iinancial compensation for their time spent in the band. Members are required to pay a participation fee to be a member of the group and each member provides their ovn attire for the performances. Members also provide all of the instruments used in the ensemble. The band's instrumentation is as follovs;
1 -E Flat Cornet/Trumpet 1 - Tenor Trombone 3 - Solo/lst BFlat Cornets/Trumpets 1 - Bass Trombone 2 - 2nd BFlat Cornets/Trumpets 1 - Euphonium 2 - 3rd BFlat Cornets/Trumpets 1 - BFlat Tuba 1 - Flugelhorn 2 - Percussion 3 -EFlalAlto Horns 54
DANBURY BRASS BAND Danbury, Connecticut Alan Raph, Conductor
The Danbury Brass Band vas organized by Alan Raph in 1984 as a 15-member ensemble known as the Connecticut Brass Society. The band adopted their current name and British-style instrumentation in 1986. At this time also, the band became a non-profit organization and began giving free public performances throughout the western Connecticut area. The Danbury Brass Band presently has 27 participating members on its roster. All of the members have had high school instrumental music training while approximately 20 have also had college instrumental music training. There are 15 current or former music educators in the ensemble and 10 individuals vho are current or former professional musicians. The band does enjoy various types of corporate sponsorship and the members are financially compensated for each performance. There are no participation fees required for membership in the band and members supply their own matching attire for the performances. The band members also provide the majority of the instruments used in the ensemble, with the band supplying some of the euphoniums and percussion equipment. Their instrumentation is listed below.
1 - £ Flat Cornet 2 - Tenor Trombones 4 - Solo/lst B Flat Cornets 1 - Bass Trombone 2 - 2nd B Flat Cornets 2 - Baritones 2 - 3rd B Flat Cornets 1 - Euphonium 1 - Repiano Cornet 2 - E Flat Tubas 1 - Flugelhorn 2 - B Flat Tubas 4 - French Horns 2 - Percussion 5 5
EASTERN IOWA BRASS BAND Mount Vernon, leva Donald Stine & John de Salme, Conductors
The Eastern lova Brass Band was organized in 1985 by Kurt Claussen. The original 25-member group grew out of a town band in the Mount Vernon area. The band is now under the direction of Donald Stine and John de Salme. Its current roster lists 40 individuals as participating members. The band has become well known throughout the area, being featured in several magazines and newspapers, appearing on Iowa Public Television, giving performances on two occasions at Iowa Bandmasters Conventions, and hosting brass band workshops and competitions. In 1990, the band also hosted the Desford Colliery Caterpillar Band from England.
All of the band members have had high school instrumental music training and 35 of the members have also had college instrumental music training. There are also 12 current or former music educators participating in the ensemble. Members of the band are not paid for their time in the group nor are they required to pay any type of participation fee for membership. The individual members supply their own attire (turn-of-the-century costumes) and instruments (with the exception of the alto horns and some percussion equipment, which is supplied by the band). The instrumentation of the Eastern Iowa Brass Band is listed below.
1 - E Flat Cornet 5 - Tenor Trombones 5 - Solo/lst B Flat Cornets 1 - Bass Trombone (King) 2 - 2nd B Flat Cornets 2 - Baritones (Besson) 2 - 3rd BFlat Cornets 2 - Euphoniums (Besson/Yam.) 2 - Repiano Cornets 2-EFlatTubas 2 - Flugelhorns 2 -BFlatTubas (King) 4 - E Flat Alto Horns (Yamaha) 4 - Percussion 56
GOLD COAST BRASS BAND Fort Lauderdale, Florida Leslie McKinnes, Conductor
The Gold Coast Brass Band was organized by Leslie McKinnes in 1988 as a brass quartet. The band has continued to grow since that time and it currently has 15 participating musicians on its roster. All of the members have had high school instrumental music training and 6 of the members have had college instrumental music training. There are presently 3 members of the band who are current or former professional musicians. Members of the Gold Coast Brass Band are not financially compensated for their time spent in the ensemble nor are they required to pay any form of participation fee to maintain their membership. Individual members are asked however, to supply their own matching attire (blazers, etc.) for the performances. Regarding instrumentation, the band supplies a few of the cornets and E fiat alto horns, and also the baritone. Participating members supply the trombones, euphonium, and £ flat tuba, as well as the remainder of the cornets and E flat alto horns. The band instrumentation is as follows:
1 -E Flat Cornet 2 - E Flat Alto Horns 2 - Solo/lst B Flat Cornets 2 - Tenor Trombones 2 - 2nd B Flat Cornets 1 - Baritone 1 - 3rd B Flat Cornet 1 - Euphonium 1 - Repiano Cornet 1 -E Flat Tuba 1 - Flugelhorn 57
GRAND RAPIDS BRASS BAND Grand Rapids, Michigan Kennistan Bauman
The Grand Rapids Brass Band was formed by Kennistan Bauman in 1989 as a part of the existing Grand Rapids Symphonic Band. The original band had 29 members and current group ranges from 29 to 32 musicians. Each year the Grand Rapids Symphonic Band includes the ensemble on one of its series concerts. The band is currently in the process of purchasing the necessary British-style instruments so they will no longer have to borrow them. All of the band members have had high school instrumental music training and approximately 24 have had college instrumental music training. There are also approximately 18 current or former music educators participating in the ensemble. None of the members receive any form of financial compensation for playing in the band and members are not required to pay any type of participation fee to be a member. The band members supply their own formal attire (tuxedos) for all of the performances. As previously mentioned, the band is providing several of the instruments, including the E flat alto horns, baritones, E flat tubas, percussion equipment and some of the cornets. The members supply the trombones, euphoniums, and B flat tubas, as well as the remainder of the cornets. The Grand Rapids Brass Band's instrumentation is listed below.
I - E Fiat Cornet 2 - Tenor Trombones 3 - Solo/lst B Flat Cornets 1 - Bass Trombone 3 - 2nd B Flat Cornets 2 - Baritones 3 - 3r d B Flat Cornets 2 - Euphoniums 1 - Repiano Cornet 2 - E Flat Tubas 1 - Flugelhorn 2 - B Flat Tubas 4 - E Flat Alto Horns 3 - Percussion 58
GREATER NEW YORK YOUTH BAND OF THE SALVATION ARMY New York. New York Gordon Ward, Conductor
The Greater New York Youth Band Of The Salvation Army was formed in 1960 by Derek Smith as the Metro Youth Band. Gordon Ward, a native of Hull, Yorkshire, England, is the ensemble s sixth and current conductor. The band has used its music to spread the "Good News" of Christ in their travels throughout the country, and boasts the likes of Philip Smith, Principal Trumpet of The New York Philharmonic, Stephen Bulla, chief arranger for "The President's Own" Ü.S. Marine Corps Band in Washington, D C., and several current members of the famed New York Staff Band, as former members. The present band has 30 participating members with approximately 20 of the members having high school instrumental music training. Individuals receive no financial compensation for their membership nor are they required to pay any type of participation fees to maintain their membership. Band uniforms and instruments are supplied solely by the band. The band 's instrumentation is as follows:
1 - E Flat Cornet (Getzen) 1 - Bass Trombone (Holton) 5 - Solo/lst B Flat Cornets (Getzen) 3 - Baritones (Sovereign) 2 - 2nd B Flat Cornets (Getzen ) 2 - Euphoniums (Sovereign ) 2- 3rd BFlat Cornets (Getzen) 2 - E Flat Tubas (Sovereign) 1 - Flugelhorn (Getzen) 2 - B Flat Tubas (Yamaha) 4 - E Flat Alto Horns (Sovereign ) 2 - Percussion 3 - Tenor Trombones (Getzen) 5 9
HANNAFORD STREET SILVER BAND Toronto, Ontario Robert Sutherland, Chairman
The Hannaford Street Silver Band was formed as an 18-piece British-style brass band in 1983 by Robert Sutherland and Raymond Tizzard. It is organized along the lines of a Canadian symphony orchestra, run by a board of directors with guest conductors (Morley Calvert, Stephen Chenette, Wayne Jeffrey, James McKay, Bram Tovey, Edward Gregson, Ifor James and others) being selected to lead the band in all performances. The band is entirely professional and presents self-produced concerts, selling subscriptions in a regular Toronto concert venue. The band is committed to expanding and recording new Canadian works for brass band and it also sponsors the Hannaford Street Youth Band, conducted by Sutherland and Tizzard with coaching by members of the senior band. The Hannaford Street Silver Band presently has 21 participating members with 5 or so regular substitutes. All of the band members have had both high school and college instrumental music training. As mentioned previously, members do receive payment for their participation. They are not required to pay any type of membership fees to play in the ensemble, but they are required to furnish their own dress attire for the performances. The band provides the E flat alto horns and baritones while the band members supply the remainder of the instruments. Their instrumentation is listed below.
1 - E Flat Cornet (Sovereign ) 2 - Tenor Trombones (Conn ) 3 - Solo/ 1st B Flat Cornets (Sovereign ) 1 - Bass Trombone (Conn ) I - 2nd B Flat Cornet (Sovereign ) 2 - Baritones (Sovereign ) 1 - 3rd BFlat Cornet (Sovereign) 1 - Euphonium (Sovereign) 1 - Repiano Cornet (Sovereign) 1 - E Flat Tuba (Sovereign) 1 - Flugelhorn (Besson) 1 - B FlatTuba 3 - E Flat Alto Horns (Sovereign) 2 - Percussion 60
HENDERSON COMMUNITY COLLEGE BRASS BAND Henderson, Kentucky Beth Hroaek, Conductor
The Henderson Community College Brass Band was formed as a result of a North American Brass Band Association-sponsored brass band workshop in the Spring of 1991. There were 17 members in that original group which ultimately disbanded and was then re-formed under the leadership of Beth Hronek. The present band (at the time of this study they were considering changing the name of the ensemble) has 28 participating members. All of the members have had high school instrumental music training and 22 of the members have had college instrumental music training. There are 15 current or former music educators in the band and 6 current or former professional musicians. Members are not awarded any form of financial compensation for performing in the group nor are they required to pay any type of participation fee to be a member. Members are expected however to provide their own attire for performances. At this time, the members own all of the instruments, with the exception of some of the band-provided percussion equipment. The ensemble s instrumentation is as follows;
2 - EFlatTrumpets (Bach/Getzen) 2 - Baritones 6 - B Flat Trumpets (Bach) 2 - Euphoniums (Yamaha) 2 - Flugelhorns (Bach/Getzen) 3 - BFlatTubas 3 -French Horns 2 - Percussion 4 - Trombones 51
INDIANAPOLIS BRASS CHOIR Indianapolis, Indiana Robert Grechesky, Conductor
The Indianapolis Brass Choir, under the direction of Robert Grechesky, vas formed in 198S with a total of 20 members. The members donate their time and talents to enhance the music programs of area churches and schools, and to aid local, national, and international charities through goodwill offerings taken at concerts. The group considers itself a brass ensemble which frequently plays brass band literature. It has a brass band type instrumentation, with the exception being the substitution of trumpets and French horns in place of cornets and alto horns (found in British-styie brass bands). The repertoire performed ranges from ensembles in four parts to full scored works for brass band. The present ensemble has between 35 and 40 members, all of which have had high school instrumental music training. A total of 30 members have also had college instrumental music training. There are 8 members who are current or former music educators and 7 members whu are current or former professional musicians. Members are not financially compensated for their time spent in the group nor are they required to pay any type of participation fee for membership. Members do provide their own matching attire (blazers, etc.) for performances as veil as all of the instruments. Their instrumentation is listed below.
1 - E Flat Trumpet 4 - Tenor Trombones 3 - Solo/lst B FlatTrumpets 2 - Bass Trombones 2 - 2nd B Flat Trumpets 1 - Baritone 2 - 3rd B FlatTrumpets 2 - Euphoniums 3 - Repiano Trumpets 1 - E Flat Tuba 1 - Flugelhorn 1 - B Flat Tuba 6 - French Horns 3 - Percussion 62
JACKSON TOWNSHIP COMMUNITY BAND Brazil. Indiana MaUHev Huber « Carl Kumpf, Co-Conductors
The Jackson Township Community Band, under the direction of Matthew Huber and Carl Kumpf.was founded in 1915 as a 25-member all-brass and percussion band by Mrs. Lewis McNutt on a farm just south of Eoosierville. J. Gus Davis was hired to teach the group of farm-boys who made up the band to play their new horns. The young men gained quite a reputation for themselves from their performances throughout Clay County. Other directors of the band have included Lauren B. Parkins. Ross Tipton and Carl Kumpf (who has served as director and now co-director for nearly 60 years). The band has traveled extensively throughout the United States performing at American Legion Conventions and other events. Though the current band of 32 members began as strictly an ail-brass organization, a few woodwinds have been added over the years. All of the members have had high school instrumental music training (with the exception of an 8-year old cymbal player who is the son of one of the members) and 5 of the members have had college instrumental music training. There are 2 current or former music educators in the band and 6 current or former professional musicians. Members are not financially compensated nor are they asked to pay any form of participation fee. Members are asked to provide their own military-style band uniforms for performances, as well as ail of their own instruments (with the exception of some of the band-owned percussion equipment). The band’s instrumentation is as follows:
4 - Solo/lst B Flat Cornets/Trumpets 1 - E Fiat Tuba/Sousaphone 2 - 2nd B Flat Cornets/Trumpets 1 - B Flat Tuba/Sousaphone 2 - 3rd B Flat Cornets/Trumpets 4 - B Flat Clarinets 5 - Tenor Trombones (inc. 1 Valve Trb.) 2 - E Flat Alto Saxophones 1 - Bass Trombone 1 - BFlat Tenor Saxophone 2 - Euphoniums 5 - Percussion 53
JUNIOR VARSITY ALL-STAR BRASS BAND Columbus, Ohio George Zonders, Conductor
The Junior Varsity All-Star Brass Band vas formed as a 26-member ensemble in 1986 under the direction of Eric Aho, a member of the Brass Band of Columbus (BBC) and director of the Varsity All-Star Brass Band. The band vas formed to provide a unique musical experience for advanced brass and percussion students from throughout the central Ohio area. The 33-member band, nov under the baton of George Zonders (also a member of the BBC), is comprised of 7th, 8th, and 9th grade musicians vho are nominated by their school band directors to audition for membership. Schools from ten counties in Ohio have been represented in the band since its inception, and many members have exhibited tremendous commitment to the ensemble traveling up to an hour and half for veekly rehearsals. Students, trained in the British Brass Band tradition, progress to become members of the Varsity All-Star Brass Band once they reach the 10th grade. The Junior Varsity All-Stars have performed throughout the Ohio area and have competed in the North American Brass Band Championships as veil. None of the members receive any form of payment for playing in the group. Members are expected to pay a participation fee for membership in the group and they are asked to provide their ovn matching attire for performances. The band supplies the majority of the instruments, vith the members providing the French horns, B flat tubas, and some of the cornets and percussion. The band’s instrumentation is as foUovs:
1 - E Flat Cornet (Yamaha) 3 - French Horns (Holton) 4 - Solo/lst B Flat Cornets 4 - Tenor Trombones (Bach) 4 - 2nd B Fiat Cornets 2 - Baritones (King) 4 - 3rd B Flat Cornets 2 - Euphoniums (Yamaha) 1 - Repiano Cornet 3 - B Flat Tu bas (Yamaha) 1 - Flugelhorn (Holton) 4 - Percussion 64
KELOWNA BRASS BAND Kelovna, British Columbia Barry Harvey, Conductor
The Kelowna Brass Band was organized and began rehearsal in April of 1991 under the leadership of conductor Barry Harvey. At the time of this study, the band had yet to give its first performance. There are presently 20 participating members in the ensemble. A total of 18 members have had high school instrumental music training and 6 of the members have had college instrumental music training. There are 5 members who are current or former music educators and 4 members vho are current or former professional musicians. Members of the Kelowna Brass Band are not financially compensated for their time spent performing in the ensemble. Members are required to pay a participation fee to be a member of the group and they are also asked to provide their ovn attire for the band's performances. The band members provide all of the instruments as veil. The band's present instrumentation is listed belov.
1 - E Flat Cornet (Boosey ) 2 - Tenor Trombones 4 - Solo/lst BFlat Cornets/Trumpets 1 - Baritone 2 - 2nd BFlat Cornets/Trumpets 1 - Euphonium (Yamaha) 2 - 3rd BFlat Cornets/Trumpets 2 - BFlat Tubas 1 - Flugelhorn 1 - Percussion 3-EFlatAlto Horns 65
MILWAUKEE BRASS BAND Milwaukee, Wisconsin Wayne M. Becker, Conductor
The Milwaukee Brass Band was formed in December of 198^ by the Reverend Thomas Raber, who became the band's solo euphonium player, and Wayne M. Becker, who continues as the band's conductor. There were 20 members in the original ensemble. The band's premier concert was held in July of 1985 and since that time the band has performed three major concerts each season. There are presently 30 participating members in the band. All of the band members have had high school instrumental music training and 15 of the members have had college instrumental music training. There are also 9 current or former music educators who perform in the group. The members of the Milwaukee Brass Band do not receive any form of financial compensation for performing in the ensemble nor are they asked to pay any type of participation fee to be a member. Individual members are expected though to provide their own attire for the band s performances. The band supplies the E flat cornet and some of the baritones and euphoniums, as well as a portion of the percussion equipment. The members provide the remainder of the necessary instruments. The band's instrumentation is listed below.
1 - E Flat Cornet (Yamaha) 4 - Tenor Trombones (Conn) 4 - Solo/lst BFlat Cornets (Yamaha/King) 1 - Bass Trombone (Bach) 2 - 2nd B Flat Cornets (Yamaha/King) 2 - Baritones (Yamaha) 3 - 3rd B Flat Cornets (Yamaha/King) 2 - Euphoniums (Sov./Yam.) 1 - Repiano Cornet (Yamaha) 2 - E Flat Tubas (Yamaha) 1 - Flugelhorn (Getzen) 2 - BFlat Tubas (Meinl-Weston) 3 - E Flat Alto Horns (Yamaha/Sovereign ) 2 - Percussion 66
MONTGOMERY COLLEGE-ROCKVILLE BRASS BAND Rockville, Maryland Dr. Ernest E. ¥olfle, Jr., Conductor
The Montgomery Coiiege-Rockville Brass Band was formed in March of 1976 as the Rockville Brass Ensemble with 7 brass players from the Rockville Concert Band. As the size of the group increased, the type of music played changed from ensemble to small brass band and finally to large brass band. The band’s first director was Phillip Jehle and the current conductor is Dr. ErnestE. Wolfle, Jr. The group became associated with Montgomery College in 1982, which allowed it to have a full-time professional conductor and access to better rehearsal facilities. The band's repertoire contains a variety of brass music, and the band's performances have included appearances at the Smithsonian Institution, Kennedy Center, various patriotic and religious events, and North American Brass Band Association Competitions. There are presently 25 members in the band, all of whom have had high school instrumental music training and 10 who have had college instrumental music training. There are 5 current or former music educators in the ensemble and 2 current or former professional musicians. Band members are not paid for their participation nor are they asked to pay participation fees for membership. Members do provide their own matching attire (blazers, etc.) for performances as well as a few of the instruments (trombones, some of the euphoniums and tubas). The band furnishes the remainder of the instrumentation which is listed below.
2 - Solo/lst BFlat Cornets (Bach) 2 - Tenor Trombones (Bach) 1 - 2nd BFlat Cornet (Bach) 1 - Bass Trombone 1 - 3rd BFlat Cornet (Bach) 2 - Baritones (Yamaha) 1 - Repiano Cornet (Bach) 4 - Euphoniums (Wilson) 2 - Flugelhorns (Bach) 3 - BFlat Tubas (Mir./M.-West.) 3 - E Flat Alto Horns (Yamaha) 3 - Percussion 67
MISSISSIPPI RIVER BRASS BAND Quincy, Illinois Pam Potter, Conductor
The Mississippi River Brass Band vas formed as a 27-member ensemble in 1985 under the direction of Pam Potter. Band members reside in vest-central Illinois and northeast Missouri, including communities along the banks of the Mississippi River. The band has performed extensively throughout Illinois and Missouri, and it has also competed in the North American Brass Band Championships on several occasions. The current band has 30 members, all of vhom have had high school instrumental music training. There are 20 members vho have had college instrumental music training and 15 of the members are current or former music educators. The members of the Mississippi River Brass Band are not required to pay any type of participation fee to be in the band nor are they given any form of financial compensation for their time spent in the ensemble. Matching attire (blazers, etc.) are provided by the members and an outside sponsor/donor. In regards to instrumentation, the band furnishes the E flat cornet and some of the B flat cornets, E flat alto horns and baritones. The percussion equipment is borroved from an outside source and the members supply the remainder of the necessary instruments. The band's instrumentation is listed belov.
1 - E Flat Cornet 2 - Tenor Trombones 5 - Solo/lst B Flat Cornets 2 - Bass Trombones 2 - 2nd B Flat Cornets 2 - Baritones 2 - 3rd B Flat Cornets 2 - Euphoniums 1 - Repiano Cornet 2 - E Flat Tubas 1 - Flugelhorn 2 - B Flat Tubas 3 - E Flat Alto Horns 3 - Percussion 68
NEW ENGLAND BRASS BAND Norwood, Massachusetts William L. Rollins, Conductor
The New England Brass Band was formed in 1989 by William L. Rollins. The original band, named the Massachusetts Bay Brass, had a total of 37 members. The collection of individuals that comprise the ensemble are brass band enthusiasts, the majority of whom received their training and brass band orientation in The Salvation Army. Most of the band is still active in Army banding and attend local Army Corps, which serve as their church homes. Though the present 32-member band is not an official Salvation Army organization, it embodies the same love of Army music founded on many things including the uplifting purpose of the music, the bond of fellowship created through the music, and the personal expression the music affords the musicians. A total of 23 members of the band have had high school instrumental music training while 8 members have also received college instrumental music training. The membership also includes 11 current or former music educators and 6 current or former professional musicians. Members are not given any type of financial compensation for performing in the group. Members are asked to pay a participation fee to be in the band and to provide their own matching attire for the performances. The band and the members jointly provide ail of the instruments used in the ensemble. The New England Brass Band’s instrumentation is listed below.
1 - E Flat Cornet 4 - Tenor Trombones 4 - Solo/lst B Flat Cornets 1 - Bass Trombone 2 - 2nd B Flat Cornets 2 - Baritones 2 - 3rd B Flat Cornets 2 - Euphoniums 2 - Repiano Cornets 3 - E Flat Tubas 1 - Flu gelhorn 2 - B Flat Tubas 3 - E Flat Alto Horns 2 - Percussion 6 9
NORTH CAROLINA STATE UNIVERSITY BRITISH BRASS BAND Raleigh, North Carolina Frank Hammond, Conductor
The North Carolina State University British Brass Band was formed in 1%5 as a 30-piece ensemble in the British brass band tradition by J. Perry Watson, then Director of Music at North Carolina State University. Mr. Watson was the founding member and first President of the North American Brass Band Association and host of the organization s first Brass Band Championship in 1983. The North Carolina State University British Brass Band is currently under the direction of Frank Hammond, who was appointed director of the ensemble in 1989 after the retirement of Mr. Watson. The band is a part of the university's total instrumental offering and members come from virtually every school on the campus. The philosophy of the worldwide brass movement, instrumental music for and by amateurs, is well-received and endorsed by all of the NCSU musical organizations. The band has maintained its membership of approximately 30 members throughout its existence. Members are not financially compensated for performing in the ensemble nor are they required to pay a participation fee to become a member. The Music Department at North Carolina State University provides all of the uniforms and instruments used by the group. The band’s instrumentation is as follows:
1 -E Flat Cornet (Yamaha/B 5c E) 3 - Tenor Trombones (Conn) 4 - Solo/lst B Flat Cornets (Yamaha) 1 - Bass Trombone (Conn) 2 - 2nd B Flat Cornets (Yamaha) 2 - Baritones (Boosey & Hawkes) 2 - 3rd BFlat Cornets (Yamaha) 2 - Euphoniums (Besson/Yam.) 1 - Repiano Cornet (Yamaha) 2 - E Flat Tubas (Yamaha) 1 - Flugelhorn (Leblanc) 2 - BFlat Tubas (Besson) 4 - E Flat Alto Horns (Boosey & Hawkes) 3 - Percussion 70
NORTHWINDS BRASS BAND Spooner, Wisconsin Milton L. Potter, Conductor
The Northvinds Brass Band vas formed in 1986 by Milton L. Potter. The original band, named the Indianhead British Brass, had a total of 24 musicians. The current ensemble has a membership that covers an area from Hayvard to Grantsburg east to vest, and Superior to Chippeva Falls north to south. The band has given numerous performances, featuring a vide range of repertoire, throughout the area. The Northvinds Brass Band presently has 26 participating members. There are 20 members vho have had high school instrumental music training and 3 members vho have had college instrumental music training. Also included in the membership are 15 current or former music educators and 4 current or former professional musicians. The members of the band are not given financial compensation for performing in the ensemble nor are they required to pay any form of participation fee to maintain their membership. Individual members are expected iicvever to provide their ovn attire as designated for the performances and the members also supply all of the instruments used in the band as veil, vith the exception of the percussion equipment vhich is borroved from a local school. The band's instrumentation is as follovs;
1 - E Flat Cornet/Trumpet 2 - Tenor Trombones 3 - Solo/lst B Flat Cornets/Trumpets 1 - Bass Trombone 2 - 2nd B Flat Cornets/Trumpets 2 - Baritones 2 - 3rd BFlat Cornets/Trumpets 1 - Euphonium 1 - Repiano Cornet/Trumpet 1 - E Fiat Tuba 1 - Flugelhorn 2 - BFlat Tubas 3 - E Flat Alto Horns 5 - Percussion 71
OHIO COLLEGIATE BRASS Columbus, Ohio Paul Droste & Jon Woods. Conductors
The Ohio Collegiate Brass vas initially formed in January, 1990. The original band of 38 members vere students and recent graduates of The Ohio State University, Otterbein College. Capital University, Mount Vernon Nazarene College, and Heidelberg College, Principal organizers of the group vere Paul Droste (Ohio State), Gary Tirey (Otterbein), and the band’s first conductor Joel Pugh (Capital). The current band of 35 musicians is directed by Paul Droste and Jon Woods, both of The Ohio State University, and the membership continues to be dravn from students and recent graduates of colleges and universities throughout central Ohio and the surrounding areas. The band has given several performances and has been very successful in competition as veil, vinning first place avards in both of the North American Brass Band Association Championships that they have entered. Members of the Ohio Collegiate Band are not financially compensated for their time spent in the ensemble nor are they required to pay any type of participation fee to be a member of the group. Members are asked however to provide their ovn attire for the performances. Regarding instrumentation, the band supplies the E flat cornets, E flat alto horns, baritones and percussion, vhile the members provide the remainder of the necessary instruments. The ensemble’s instrumentation is listed belov.
2 - E Flat Cornets (Yamaha) 3 - Tenor Trombones 5 - Solo/lst B Flat Cornets 1 - Bass Trombone 2 - 2nd B Flat Cornets 3 - Baritones (Yamaha) 2 - 3rd B Flat Cornets 3 - Euphoniums (Yamaha) 1 - Repiano Cornet 2 - E Flat Tubas 1 - Flugelhorn 3 - BFlat Tubas 4 - E Fiat Alto Horns (Yamaha) 3 - Percussion 72
OHIO STATE UNIVERSITY MARCHING BAND Columbus, Ohio Dr. Jon R, Woods, Conductor
The Ohio State University Marching Band vas organized in 1S78 as a 12-piece band led by student George Makepeace. By 1920, the band had grown to a total of 120 members. The modern history of the ensemble began in 1929 when Eugene j. Weigel was named director. Weigel converted the band in 1934 to an all-brass and percussion band patterned after the British brass bands. The present band, a performing ensemble in the School of Music under the direction of Dr. Jon R. Woods, has a total of 225 members (an on-field block of 192 plus 33 alternates) and is considered to be the largest all-brass and percussion band in the world. The band still maintains its heritage regarding the traditional British instrumentation (even though B flat trumpets are now used in place of the original B flat cornets). The band is funded primarily by the OSU Athletic Department complemented by donations from outside sources. Members of the band are provided with all equipment needed to perform, including a matched set of university-owned instruments in each section. No participation fees are required of the members ezcept for the cost of enrollment for university course credit. The band’s 192-piece block band is composed of the following instruments:
10 - E Flat (Cornets (Yamaha) 24 - Baritones (Yamaha) 36 - Solo/lst B FlatTrumpets 24 - Sousaphones ((Conn) 18 - 2nd B Flat Trumpets 12 - Snare Drums (Ludwig ) 18 - Flugelhorns (3N Parts)(Yamaha) 4 - Tenor Trios (Yamaha) 24 - E Flat Alto Horns (Yamaha) 4 - Bass Drums (Ludwig) 24 - Slide Trombones (Bach) 4 - Cymbals (Zildjian) 73
OHIO STATE UNIVERSITY MARCHING BAND ALUMNI - ACTIVE BAND Columbus, Ohio David L. Meeker, Conductor
The Active Alumni Band of The Ohio State University Marching Band Alumni (TBDBITL Alumni Club) was formed in 1974 under the direction of former OSU Marching Band Director, Jack 0. Evans. David L. Meeker, former Director of the OSU School of Music, assumed leadership of the approximately 120-member band in 1978. The band began due, in part, to the tremendous interest in performing by former members of the OSU Marching Band, and as a result of the interest and enthusiasm generated by the annual Alumni Band Day held at an Ohio State University football game every fall (over 600 former members of the OSU Marching Band return each fall to perform "one more time"). The Active Alumni Band performs a wide range of marching band-style repertoire year round throughout the state for a variety of events. Proceeds from performances are used primarily for School of Music scholarships and for the support of the OSU Marching Band. There are approximately 30 current or former music educators and approximately 5 current or former professional musicians vho perform with the band on a regular basis. Members are not given any type of financial compensation for playing in the band nor are they required to pay participation fees, with the exception of the annual Band Alumni Club dues. Members provide their own matching attire for performances and both the university and membership combine to provide the instruments. An average instrumentation of the group is listed belov.
8 - E Flat Cornets/Trumpets 5 - Bass Trombones 20 - Solo/lst BFlat Cornets/Trumpets 10 - Baritones 10 - 2nd B Fiat Cornets/Trumpets 10 - Euphoniums 10 - 3rd BFlat Cornets/Flugeihorns 16 - Tubas/Sousaphones 15 - E Flat Alto Horns 15 - Percussion 15 - Tenor Trombones 74
OKLAHOMA TERRITORIAL BRASS BAND Norman, Oklahoma Legh ¥ . Burns, Conductor
The Oklahoma Territorial Brass Band was formed as a 20-piece musical ensemble in 1990 under the direction of Legh W. Burns. The present band has a total of 16 participating members. All of the members have had high school instrumental music training and 12 of the members have had college instrumental music training as well. In addition, there are also 4 members of the band who are current or former music educators. The members of the Oklahoma Territorial Brass Band are not given any form of financial compensation for their time spent performing in the ensemble nor are they required to pay any type of participation fee to maintain their membership. The individual members of the band provide their own attire for performances and they also supply all of their own instruments. The band 's instrumentation is listed below.
1 - E Flat Cornet 2 - Tenor Trombones 2 - Solo/lst B Flat Cornets 1 - Bass Trombone 1 - 2nd B Flat Cornet 1 - Baritone 1 - 3rd B Flat Cornet 1 - Euphonium 1 - Repiano Cornet 1 - E Flat Tuba 1 - Flugelhorn 1 - Percussion 3-EFlatAlto Horns OSHAWA CIVIC BAND Oshawa. Ontario Lt. Barrie Hodgins, Conductor
The Oshava Civic Band was formed as an approximately 25-piece ensemble in 1870 by bandmaster William Mathewson. The band’s original name was the Town Band and in 1899, it was re-named the Oshawa Citizens Band. In 1920. the Ontario Regiment moved from headquarters in Whitby to the new Armoury in Oshawa and the band, at the time in need of a rehearsal hall, was given a permanent room in the building in return for their services as a Regimental Band. The band's colorful history continued and in 1%8 it became known by its current name, the Oshawa Civic Band. There are presently 26 participating members in the band. 6 of whom have had high school instrumental music training. In addition 1 of the members is a current or former music educator and 3 of the members are current or former professional musicians. The members of the band are not financially compensated for performing in the ensemble and they are also not required to pay any type of participation fee to be a member of the group. The band treasury provides the members with uniforms and the majority of the instruments as well. Listed belov is the band's regular performing instrumentation.
1 - E Flat Cornet 1 - Bass Trombone 3 - Solo/lst BFlat Cornets 3 -Baritones 1 - 2nd B Flat Cornet 2 - Euphoniums 1 - 3rd BFlat Cornet 2 - E Flat Tubas 1 - Repiano Cornet 2 - B Flat Tubas 3 - E Flat Alto Horns 1 - Percussion 2 - Tenor Trombones 76
PASADENA TABERNACLE BAND OF THE SALVATION ARMY
Pasadena, California Bill Gordon, Conductor
The Pasadena Tabernacle Band of The Salvation Army was organized around 1910 in Los Angeles, California. The band was originally known as the Hollywood Tabernacle Band. Over the years, the band became more proficient musically and gained prominence in 1959 as a result of a concert tour through Canada, the east coast, and the mid-west. The band's fame spread which resulted in subsequent tours to Europe (1%4), Australia (1973), and Alaska and Hawaii (1986). The ensemble continues to travel throughout the country as well as perform its weekly duties at its home church of The Salvation Army in Pasadena. The Pasadena Tabernacle Band is under the direction of bandmaster Bill Gordon. It presently has 48 active participants. There are 18 members who have had high school instrumental music training and 12 members who have had college instrumental training. A total of 3 members are current or former music educators and 2 members are current or former professional musicians. Members are not financially rewarded for their time spent performing in the ensemble and they are required to pay a participation fee to maintain their membership. Individual members supply their own Salvation Army uniforms with the band furnishing the majority of the instruments. The instrumentation of the ensemble is listed below.
1 - E Flat Cornet 1 - Bass Trombone (Holton ) 8 - Solo/ 1st B Flat Cornets 4 - Baritones 2 - 2nd BFlat Cornets 3 - Euphoniums (Imperial) 1 - Repiano Cornet 4 - E Flat Tubas 1 - Flugelhorn 3 - B Fiat Tubas 7 - E Flat Alto Horns 3 - Percussion 5 - Tenor Trombones (Bach) 77
POLYNESIAN CULTURAL CENTER/ BRIGHAM YOUNG UNIVERSITY - HAWAII BRASS BAND Laie. Hawaii D. Gary Sorensen, Director
The Polynesian Cultural Center/ Brigham Young University - Hawaii Brass Band was founded in 1977 by Richard Ballou under the direction of Sione Tuitupo. There were 13 members in the original band which was known as the PCC Brass Band. Conceived originally as a matinee show "filler", the band was made a permanent feature in 1983 when a special gazebo was built for band performances. The present day 34-member ensemble, under the direction of D. Gary Sorensen, now performs nightly in addition to regular performances in parades and local functions (for visiting dignitaries, etc.). Of the 34 total members in the band, 30 have had both high school and college instrumental music training. Members are financially compensated for performing in the ensemble and they are not required to pay any type of participation fee to be a member of the group. An outside sponsor/donor supplies the matching attire for performances and the band provides ail of the instruments. The band's instrumentation is listed below.
1 - E Flat Cornet (Y'^maha) 5 - Tenor Trombones (Yamaha) 3 - Solo/lst B Flat Cornets/Trumpets (Yam.) 1 - Bass Trombone (Yamaha) 2 - 2nd B Flat Cornets (Yamaha) 2 - Baritones (Yamaha) 2 - 3rd BFlat Cornets (Yamaha) 2 - Euphoniums (Yamaha) 1 - Repiano Cornet (Yamaha) 2 - E Flat Tubas (Yamaha) 1 - Flugelhorn (Yamaha) 2 - B Flat Tubas (Yamaha) 4 - E Flat Alto Horns (Yamaha) 4 - Percussion (Pearl) 78
RÎVER CITY BRASS BAND Pittsburgh. Pennsylvania Robert Bernal, Conductor
The River City Brass Band, under the direction of Robert Bernal, made its debut in 1981 at the Pittsburgh Symphony Orchestra's British Festival. The band, considered to be the first American professional concert band organized in over twenty-five years, has von critical and audience acclaim throughout the nation. The ensemble of 28 virtuoso professional musicians presents a nearly fifty concert subscription series in its home region of greater Pittsburgh, and tours extensively throughout America and abroad (performances in Australia, Nev Zealand, etc.). All of the members of the River City Brass Band have had both high school and college instrumental music training, and 9 of the members are current or former music educators. Given the professional stature of the band, members of course are paid for performing and thus, are required to be paid-up members of the American Federation of Musicians. Individual members and the band treasury combine to provide the attire worn for performances and the members supply all of the instruments as veil, except for the band-provided percussion equipment. The band, vhich also sponsors and supports the River City Youth Brass Band, adheres to the British concept of instrumentation except that it uses both trumpets and cornets in performances (depending on the requirements of the composition performed) as veil as French horns. The band's instrumentation is as follows;
1 - E Flat Trumpet 2 - Tenor Trombones 4 - Solo/lst B Flat Cornets/Trumpets 1 - Bass Trombone 2 - 2nd BFlat Cornets/Trumpets 2 -Baritones 2 - 3rd B Flat Cornets/Trumpets 2 - Euphoniums 1 - Repiano Cornet/Trumpet 2 - E Flat Tubas 1 - Flugelhorn 2 - B Flat Tubas 3 - French Korns 3 - Percussion 79
RIVER CITY YOUTH BRASS BAND Pittsburgh. Pennsylvania Denis Colvell, Conductor
The River City Youth Brass Band was formed as a 30-member ensemble known originally as the Carnegie Mellon Brass Band. At that time, the band was a part of Carnegie Mellon University's Preparatory Music School. Four years later, the band, under the leadership of Denis Colwell, reformed as a collaborative effort between the River City Brass Band and Carnegie Mellon University. The present 35-member band is considered to be the brass counterpart of the very successful youth orchestras found throughout the United States, where talented young musicians admitted by audition receive a more advanced comprehensive training than most school programs offer. Among the unique aspects of the band is that professional players coach sectional rehearsals and play alongside the students during full band rehearsals. Members of the River City Youth Brass Band, a strictly amateur group, are admitted to the ensemble by audition, and they are required to pay a participation fee. Members provide their own instruments (except percussion) and attire for all of their performances. The instrumentation of the band is listed below.
1 -EFlatTrumpet (Bach) 5 -Tenor Trombones 5 - Solo/lst B FlatTrumpets (Bach) 2 - Bass Trombones 3 - 2nd B FlatTrumpets (Bach) 1 - Baritone 3 - 3rd BFlatTrumpets (Bach) 3 - Euphoniums 2 -Repiano Trumpets (Bach) 4-BFlatTubas 1 - Flugelhorn (Getzen) 2 - Percussion 3 - French Horns 80
ROCKY MOUNTAIN BRASSWORKS Westminster. Colorado Steve Ashem, Conductor
The Rocky Mountain Brassworks was formed in 1980 as a 16-member band known as the Denver Brassworks. The band was founded as an off-shoot of John Kincaid’s Colorado Brass Band and was started initially as a part of the Denver Parks and Recreation Division. In the beginning, support was lacking, so the band re formed and has since continued to flourish. The present band, under the direction of Steve Ashem, has a total of 36 members. All of the members have had high school instrumental music training and 30 members have had college instrumental music training as well. There are 15 current or former music educators and 13 current or former professional musicians participating in the band. Members of the Rocky Mountain Brassworks are not given any type of financial compensation for their membership in the ensemble. They are required to pay a participation fee to be in the band and they also provide their own matching attire (blazers, etc.) for the performances. The band provides the cornets, baritones, and E flat tubas, as well as a few of the alto horns and some of the percussion equipment. The members furnish the remainder of the necessary instruments. The instrumentation is as follows:
2 - E Flat Cornets (Yamaha) 4 - Tenor Trombones 4 - Solo/lst B Flat Cornets (Yamaha) 2 - Bass Trombones 2 - 2nd B Flat Cornets (Yamaha) 3 - Baritones (Yamaha) 2 - 3rd BFlat Cornets (Yamaha) 3 - Euphoniums (Yamaha) 1 - Repiano Cornet (Yamaha) 3 - E Flat Tubas (Yamaha) 2 - Flugelhorns (Yamaha) 3 -BFlat Tubas (Mir./Yam.) 6 - E Flat Alto Horns (Yamaha/Besson) 2 - Percussion 81
SALT RIVER BRASS Phoenix, Arizona Hugh Callison, Conductor
The Salt River Brass was formed in 1988 as a 27-member band under the direction of Ray Andrews. The current band, under the direction of Hugh Callison, has become well known for their performances throughout the Phoenix area. The band has thrilled audiences in the area s finest concert venues, received honors in North American Brass Band competitions, and presented guest soloists, ensembles, and conductors (including Geoffrey Brand from London and others). The band presents a wide variety of repertoire at their performances with the versatility to program everything from light classics and marches to show tunes and folk melodies. The present band has 30 participating members. Almost all of the members have had high school instrumental music training and 18 of the members have had college instrumental music training. There are 8 current or former music educators and 3 current or former professional musicians in the ensemble. Members of the band are not paid for their services nor are they required to pay any type of participation fees to maintain their membership. The band treasury supplies a portion of the attire worn for performances. Concerning instrumentation, the band also furnishes the cornets, alto horns and baritones, with the membership supplying the remainder of the equipment. The instrumentation of the Salt River Brass is listed below.
1 - EFlat Cornet (Getzen) 2 -Tenor Trombones (Conn) 4 - Solo/lst BFlat Cornets (Besson) 1 - Bass Trombone (Holton) 2 - 2nd BFlat Cornets (Besson) 2 - Baritones (Besson) 2 - 3rd BFlat Cornets (Besson) 2 - Euphoniums (Besson) 1 -Repiano Cornet (Besson) 2 -EFlat Tubas (Besson) 1 - Flugelhorn 2 - B Flat Tubas (Alexander) 3 - E Flat Alto Horns (Yamaha) 3 - Percussion 82
SALVATION ARMY STUDENT FELLOWSHIP BRASS BAND OF ASBURY COLLEGE Wilmore, Kentucky Ronald Hok, Conductor
The Salvation Army Student Fellowship Brass Band of Asbury College was formed in 1950 as an approximately 18-member ensemble by students as an extracurricular Christian outreach group. The band's first official leader was Paul Rader (c. 1955) and the band was conducted by students until 1974 when James Curnow became director. The present conductor, Ronald Holz, became the band's director in 1981. The band has traveled and performed extensively throughout the area and has received widespread recognition for their performances. There are a total of 35 members in the band, with approximately 21 having had high school instrumental training. Members of the band are not financially compensated for their time spent in the ensemble nor are they required to pay any type of participation fee to be a member. Individual members provide their own band uniforms for the performances. The band supplies the E flat cornet, baritones, euphoniums, B flat tubas, and percussion equipment, as well as some of the B flat cornets, E flat alto horns, and trombones. The remainder of the instruments are supplied by the band members. The instrumentation of the ensemble is as follows;
1 - EFlat Cornet (Yamaha) 3 -TenorTrombones (Conn/Bach) 5 - Solo/lst BFlat Cornets (Getzen) 1 - Bass Trombone (Holton) 2 - 2nd B Flat Cornets (Geteen) 4 - Baritones (Besson) 2 - 3rd B Flat Cornets (Getzen ) 2 - Euphoniums (Yamaha) 1 - Repiano Cornet (Getzen) 2 - EFlat Tubas (Besson) 1 - Flugelhorn (Getzen) 2 - B Flat Tubas (Yamaha) 7 - E Flat Alto Horns (Yamaha) 2 - Percussion 83
SASKATOON BRASS BAND Saskatoon, Saskatchewan Walter Graham, Conductor
The Saskatoon Brass Band was originally formed as a 10-member ensemble by conductor Walter Graham. The band, patterned after the British-style brass bands, has steadily increased in membership to its current size of 23 participating members. The band rehearses nearly year-round and it has performed extensively throughout the area at a variety of locations and events becoming well known for its entertaining repertoire and fine performances. The Saskatoon Brass Band, soon to be under the leadership of a new conductor yet to be named, has approximately 9 members who have had high school instrumental music training and 5 members who have had college instrumental music training. There are 2 current or former music educators and 2 current or former professional musicians now participating in the ensemble. Members of the band are not financially compensated for their time spent in the ensemble. Members do pay a participation fee to maintain their membership and they supply their own matching attire for their performances. The band provides most of the instruments with the members providing the trombones, one euphonium and one E flat tuba. The band's instrumentation is as follows;
1 - E Flat Cornet 2 - Tenor Trombones 3 - Solo/lst B Fiat Cornets 1 - Bass Trombone 2 - 2nd B Flat Cornets 1 - Baritone 2 - 3rd BFlat Cornets 2 - Euphoniums 1 - Repiano Cornet 2 - EFlat Tubas 1 - Flugelhorn 1 - B Flat Tuba 3 -EFlat Alto Horns 84
SCREAMERS & LYRIC BRASS BAND Akron. Ohio Thomas A. Myers, Conductor
The Screamers & Lyric Brass Band, under the leadership of Thomas A. Myers (presently the editor of The Brass BauidBridgé, was founded in London, England in 1986. The original band had 22 members including college faculty, college students, public school educators and other interested musicians. The band performs a variety of traditional, modern, classical, sacred, and experimental music and, at the time of this study, is the only British-style brass band in the northeastern Ohio area. The Screamers & Lyric Brass Band presently has 12 members on its roster, all of whom have had both high school and college instrumental music training. There are also 3 members participating who are current or former music educators. Band members are not given any form of financial compensation for performing in the ensemble, nor are they charged any type of participation fee to be a member. Individual members provide their own attire for performances and all of the instruments, with the exception of the E flat cornet and percussion equipment, which is supplied by the director of the band. Listed below is the band's nresent instrumentation.
1-EFlat Cornet ((îetzen) 1 - Bass Trombone (Bach) 1 - Solo/lst B Flat Cornet (Getzen) 1 - Baritone (Yamaha) 1 - 2nd B Flat Cornet (Bach ) 1 - Euphonium (Vilson ) 1 - 3rd BFlat Cornet (Bach) 1 - BFlat Tuba (Meinl-Weston) 1 - E Flat Alto Horn (Booseyêc Hawkes) 1 - Percussion 1 - Tenor Trombone (Bach) 85
SHELDON THEATRE BRASS BAND Red Wiag, Minnesota. Gene E. Beckwitli, Conductor
The Sheldon Theatre Brass Band grew out of an idea that the city of Red Wing should have a resident performing ensemble. In keeping with Red Wing’s preservation of the past and its numerous fine examples of that goal, it was concluded that a British-style brass band would be the kind of musical group to best represent that image. The proposal was presented to the Sheldon Theatre Board and the band was accepted as the resident performing instrumental ensemble at the theatre. The band began rehearsals in March of 1989 and the band presented its first concert to a full house the following August. The group, under the direction of Gene E. Beckwith, presents three concerts a year at the Sheldon Theatre. They have performed in competition at North American Brass Band Association Championships and in 1991 became the first brass band to perform at the Minnesota Music Educator ’s Convention. There are approximately 30 members in the present band, all of whom have had high school instrumental music training. There are 15 members who have had college training, 16 members who are current or former music educators, and 6 members who are current or former professional musicians. Members are not required to pay any type of participation fee nor are they paid for their services. The individuals provide their own attire for performances and the majority of the middle and low-range instruments. The band provides the high brass instruments and some of the tubas and percussion equipment The band’s instrumentation is as follows:
1 - E Flat Cornet (Getzen) 2 - Tenor Trombones (Conn/Bach) 4 - Solo/lst B Flat Cornets (Getzen) 1 - Bass Trombone (Yamaha) 2 - 2nd B Flat Cornets (Getzen) 2 - Baritones (Besson/Yamaha) 2 - 3rd BFlat Cornets (Getzen) 3 - Euphoniums (Besson/Yamaha) 1 - Repiano Cornet (Getzen) 1 - EFlat Tuba (Besson) 1 - Flugelhorn (Getzen) 2 - BFlat Tubas (Yam./Mirafone) 3 - EFlat Alto Horns (Yamaha/Besson) 3 - Percussion 86
SMOKY MOUNTAIN BRITISH BRASS BAND Cullovhee, North Carolina Richard R. Trevarthen, Conductor
The 28-member Smoky Mountain British Brass Band vas formed in 1981 under the direction of Richard R. Trevarthen. The band, winner of the first North American Brass Band Association Championships, continues to delight audiences throughout North Carolina and other parts of the south with its fine brass performances and variety of repertoire. Playing as many as twenty-five concerts per year, the band may be heard performing in a number of diverse settings. Members of the band also participate in several different ensembles, from quintets to septets to a group known as the Smoky 12. and another 15-piece group known as the Smoky Mountain Chamber Brass. The members of the Smoky Mountain Brass Band have all had high school instrumental music training and 12 to 15 have had college instrumental music training as well. There are also 9 current or former music educators performing in the ensemble. The members are not given financial compensation for their efforts and they are not required to pay any form of participation fee for membership Members are asked to provide their own concert attire (blazers, etc.) for the performances. Regarding instrumentation, the band provides the E flat alto horns, baritones. E flat tubas, and percussion equipment, as well as some of the cornets and B flat tubas. The members of the band provide the rest of the necessary instruments. The instrumentation of the ensemble is listed below.
1 - E Flat Cornet 2 - Tenor Trombones 3 -Solo/lstB Flat Cornets 1 - Bass Trombone 3 - 2nd B Flat Cornets 2 - Baritones 2 - 3rd B Flat Cornets 3 - Euphoniums 1 - Repiano Cornet 2 - E Flat Tubas 1 - Flugelhorn 3 - BFlatTubas 3 - EFlat Alto Horns 1 - Percussion 87
ST. JOHNS RIVER CITY BAND Jacksonville, Florida Samuel J. Fricano, Conductor
The St. Johns River City Band vas organized as a 27-member ensemble in 1984 under the direction of Willis Page. The band’s consistent mission throughout its history has been to provide the broadest blend of professionally produced and performed musical programs for the greatest possible audience. Since being proclaimed Jacksonville's Official Band in 1985, the ensemble has performed literally hundreds of concerts vith a variety of repertoire in venues throughout the immediate and surrounding areas. In addition, educational concerts are performed for local high schools each spring. Most of the concerts presented by the band have been free and open to the public. The St. Johns River City Band, one of only tvo professional brass bands in the United States, has a present total of 20 members, ail of vhom have had both high school and college instrumental music training. There are 13 of the members vho are also current or former music educators. Members of the band are not required to pay any type of participation fee to be a member of the group, and of course, they are paid for performing in the ensemble. The individual members provide their ovn formal concert attire as veil as some of the instruments (trumpets, trombones and euphoniums). The band furnishes the rest of the necessary instruments. The band ’s instrumentation is as foHovs:
1-EFlat Trumpet 2 - Tenor Trombones 2 - Solo/ist B Flat Trumpets 1 - Bass Trombone 2 - 2nd B Flat Trumpets 1 - Baritone 2 - 3rd B Flat Trumpets 1 - Euphonium 1 - Repiano Trumpet 1 - E Flat Tuba 1 - Flugelhorn 1 - B Flat Tuba 2 - E Flat Alto Horns 2 - Percussion 88
TENNESSEE TECH UNIVERSITY BRASS BAND Cookeville. Tennessee Charles Decker, Conductor
The Tennessee Tech University Brass Band vas formed in the spring semester of 1986 as a student brass ensemble under the direction of Charles Decker. For a variety of reasons, the band has been inactive since that initial semester but plans are currently underway for a revival of the ensemble, again as a student brass band, during the spring of 1992. No other information regarding the band vas supplied by the conductor at the time of this study. 8 9
TERRITORIAL BRASS Mesa, Arizona Larry Baedke, Lead Musician
The Territorial Brass was formed in 1987, its goal being to replicate the brass bands that were active in Arizona during the territorial period. The 11-member ensemble, which does not use a conductor, specializes in nineteenth century American brass band music, playing authentic arrangements from 1835, through the Civil War, to Arizona's year of statehood. Popular songs of the period are rendered by a soprano vocalist, who also narrates the programs from the perspective of a young lady living in the Arizona Territory in 1897. In 1990, the Governor of Arizona recognized the band as the state's Official Historical Brass Band and in 1991 the band traveled to Danville, Kentucky to perform in the Great American Brass Band Festival. All of the members of the band have had high school instrumental music training and 8 of the members have also had college instrumental music training. There are 3 current or former music educators and 5 current or former professional musicians participating in the ensemble. The members are not required to pay any type of participation fee to be in the band and they are partially compensated for playing in the group. The band treasury provides the uniforms (period costumes from the turn-of-the-century) as well as the alto horn and D flat piccolo. The members provide the remainder of the instruments. The ensemble's instrumentation is as follows;
1 - E Flat Cornet (Yamaha) 1 - Euphonium 1 - Solo/ist B Flat Cornet (Yamaha) 1 - C Tuba 1 - Flugelhorn 1 - Piccolo/Flute 1 - E Flat Alto Horn (Yamaha) 1 - Percussion 1 - Baritone (Mirafone) 1 - Soprano Vocalist 90
TRIANGLE BRASS BAND Chapel Hill, North Carolina Michael Votia, Jr.. Conductor
The Triangle Brass Band vas formed as a 38-piece band in 1986 under the direction of David Reed. Formerly known as the WRAL British Brass Band, the ensemble considers itself as distinctively American, interpreting brass band music with British-style instrumentation. The generosity of the Capital Broadcasting Company coupled with grants from the A.J. Fletcher Foundation provided start-up and operating funds for the band, one of the first brass bands in the United States to enjoy corporate sponsorship. The band is well known for its many outstanding performances throughout the area and also for its performances at North American Brass Band Association Championship competitions. The present band, under the direction of Michael Votta, Jr., has a participating membership of 42 musicians, all who have had high school instrumental music training. There are 30 members of the band who have also had college instrumental music training and 25 members who are current or former music educators. Members of the Triangle Brass Band do not receive payment for their services, but they are required to pay dues to maintain their membership. The band treasury provides the uniform (blazers, etc.) for performances as well as several of the instruments - E flat cornet, E flat alto horns, baritones, percussion equipment, and some of the B flat cornets, euphoniums and tubas. The members supply the remainder of the instrumentation, which is as follows:
1 - E Flat Cornet 3 - Tenor Trombones 3 - Solo/lstB Flat Cornets 1 - Bass Trombone 2 - 2nd B Flat Cornets 3 - Baritones 3 - 3rd B Flat Cornets 3 - Euphoniums 1 - Repiano Cornet 2 - EFlat Tubas 1 - Flugelhorn 3 - B Flat Tubas 5 - E Flat Alto Horns 3 - Percussion 91
UNIVERSITY OF NORTHERN IOWA BRASS BAND Cedar Fails, Iowa Dave Clark, Director
The University of Northern Iowa (UNI) Brass Band was formed in the spring of 1991 by Steve Kenny, a member of the Eastern Iowa Brass Band, while attending the University of Northern Iowa. It was the intent of the organizer and charter members of the group to obtain sanctioning from the university for the band so it could be recognized as an official ensemble. For reasons unknown to the author of this study, the group was not sanctioned, and at this writing, is no longer in eiistence. A member of the band returned the survey questionnaire with the following information about the short-lived band. The 1991 UNI Brass Band had a total of 34 members. An entirely student organization, the band did attend and make a strong showing at the North American Brass Band Association Championships held in Cedar Rapids, Iowa. Members of the band received no financial compensation for their efforts. They were required to pay a participation fee to be a member of the ensemble. Individual members of the band provided their own formal attire for performances as well as several of the instruments - French horns, trombones, euphoniums and some of the tubas and cornets. The remaining instruments needed were provided by the band/sponsor. The band's 1991 instrumentation is listed below.
1 - E Flat Cornet 3 - Tenor Trombones 4 - Solo/lst B Flat Cornets 1 - Bass Trombone 3 - 2nd B Flat Cornets 1 - Baritone 3 - 3rd B Flat Cornets 3 - Euphoniums 1 - Repiano Cornet 2 - E Flat Tubas 1-Flugelhorn 3-BFlatTubas 4 - French Horns 4 - Percussion 92
VARSITY ALL-STAR BRASS BAND Columbus, Ohio Eric ¥ . Aho, Conductor
The Varsity All-Star Brass Band vas formed as a 23-member ensemble in the British tradition in 1986 under the direction of Eric W, Aho. Members of the band are tenth, eleventh and twelfth grade students from throughout the central Ohio area. Members are selected by nomination/audition and must be members in good standing of their high school band program. The band aggressively addresses the traditional brass band literature and breaks into smaller groups as well to perform brass choir and small ensemble literature. The band has performed throughout Ohio and the surrounding states and has competed with great success in several North American Brass Band Association Championship competitions. The Varsity All-Star Brass Band presently has 38 participating members. None of the members receive any form of payment for playing in the group. Members are expected to pay a participation fee for membership in the group and they are also asked to provide their own matching attire for performances. The band supplies the majority of the instruments, with the members providing the euphoniums, B flat tubas, and a few of the cornets, trombones and percussion. The band 's instrumentation is as follows:
1 - E Flat Cornet (Yamaha) 6 - Tenor Trombones 3 - Solo/lst E Flat Cornets 2 - Bass Trombones 3 - 2nd B Flat Cornets 3 - Baritones 3 - 3rd B Flat Cornets 2 - Euphoniums 1 - Repiano Cornet 2 - E Flat Tubas 1 - Flugelhorn 2 - B Flat Tubas 5 - E Flat Alto Horns 3 - Percussion 93
WENATCHEE BRITISH BRASS BAND Wenatchee, Washington Dr. Duane Mikow, Conductor
The Wenatchee British Brass Band vas formed in 1982 under the direction of Glenn Kelly. The original band of 28 members was started to provide an opportunity for adult members of the community and surrounding areas to continue performing with skills acquired during school tenure, and at the same time, to give of their talents in an enjoyable manner for themselves and their community. The band, currently under the direction of Dr. Duane Mikow, performs an annual subscription series of concerts as well as performing various paid and free concerts throughout the year. The band has become well known for the variety of their repertoire and their outstanding musicianship. There are 28 participating members in the ensemble, all having had both high and college instrumental music training. There are also 8 members who are current or former music educators. The band members do not receive any form of financial compensation for performing in the group, nor are they required to pay any type of fees to be a member. The band treasury and the members combine to provide the attire for performances. All of the instruments (except trombones) are provided by the band. The ensemble 's instrumentation is listed below.
1 - E Flat Cornet (Sovereign ) 3 - Tenor Trombones 4 - Solo/lst BFlat Cornets (Sovereign) 1 - Bass Trombone 2 - 2nd B Flat Cornets (Sovereign ) 2 - Baritones (Sovereign ) 2 - 3rd BFlat Cornets (Sovereign) 2 - Euphoniums (Sovereign) 1 - Repiano Cornet (Sovereign) 2 - E Flat Tubas (Boosey & Hawkes) 1 - Flugelhorn (Boosey & Hawkes) 2 - B Flat Tubas (Boosey & Hawkes) 3 - E Flat Alto Horns (Boosey & Hawkes) 2 - Percussion 94
WESTERN MISSOURI BRASS BAND Grain Valley. Missouri Gary Love & Bary Hartman, Conductors
The Western Missouri Brass Band was formed in 1985 under the leadership of Gary Love and Bary Hartman. There were 30 members in the original band whose first performance was for President Ronald Reagan. The band has performed throughout the local and surrounding areas for a variety of functions, including conferences of the Missouri Music Education Association and the Missouri Bandmasters Association. There is presently between 30 and 35 participating members in the band. All of the members have had both high school and college instrumental music training. Over 75% of the members are current or former music educators and approximately 50% of the membership are current or former professional musicians. Members of the Western Missouri Brass Band are not required to pay any type of participation fee to maintain their membership in the ensemble nor are they financially compensated in any fashion for performances. Individual members provide the formal attire worn at performances, as well as all of the instruments used by the band. The band's instrumentation is listed below.
1 - E Flat CorneL/Trumpet (Yamaha) 3 - Tenor Trombones 4- Solo/lst BFlat Cornets/Trumpets 1 - Bass Trombone 2 - 2nd B Fiat Cornets/Trumpets 2 - Baritones 2 - 3rd B Flat Cornets/Trumpets 2 - Euphoniums 1 - Repiano Cornet (Getzen) 2 - E Flat Tubas 1 - Flugelhorn (Yamaha) 2 - B Flat Tubas 5 - French Horns 3 - Percussion 95
WESTERN STATE COLLEGE COLORADO BRASS BAND Gunnisott, Colorado John Kincaid. Conductor
The Western State College - Colorado Brass Band was formed in 1974,under the direction of John Kincaid, as a result of Mr. Kincaid’s visit to New Zealand for two and a half months to observe brass bands in that country. Upon return, he began offering on-campus brass band workshop sessions for interested musicians that have continued and evolved to this day, and now include performances throughout the area. The Rocky Mountain Brassworks is just one of the ensembles that organized as a result of these sessions and remains one of the workshops best supporters - loaning instruments, musicians, music, etc. The most recent workshop band had 38 participating members, all with both high school and college instrumental music training. There were 22 current or former music educators and 3 current or former professional musicians playing in the group. Members of the Western State College - Colorado Brass Band are not financially compensated for their time spent in the ensemble and a participation fee is often required (depending on the given workshop). The individual members are also asked to provide their own attire for the performances. The members of the ensemble provide their own cornets, trombones, euphoniums and B flat tubas. The band provides the remainder of the instrumentation, which is listed below.
1 - E Flat Cornet (Yamaha) 4 -Tenor Trombones (Bach) 5 - Solo/lst B Flat Cornets 2 - Bass Trombones (Bach) 3 - 2nd B Flat Cornets 2 - Baritones (Yamaha) 3-3rd BFlat Cornets 2 - Euphoniums (Yamaha) 2 - Repiano Cornets 3 - E FlatTubas (Yamaha) 1 - Flugelhorn (Yamaha) 3 - B FlatTubas 4 - E Flat Alto Horns 3 - Percussion 96
WESTON SILVER BAND Weston, Ontario
The Weston Silver Band was conducted by Morley Calvert, who passed away during the course of this study. Mr. Calvert, a well known conductor, brass band enthusiast and multifaceted composer, had led the band for several years. The survey questionnaire was returned unanswered by Band Treasurer John Vann Esterick with the news concerning Mr. Calvert. The author of this research obtained the information below from other sources so that the Weston Silver Band could be included in this portion of the study. The Weston Silver Band is one of four bands affiliated with the city of York in metropolitan Toronto. There are approximately 30 participating musicians in the ensemble, which is comprised of musicians from a broad cross-section of professions, from accounting to engineering. The band's main function is to provide entertainment for civic events, summer park concerts and various community groups. The band rehearses fifty weeks per year and gives nearly twenty-five performances per year as well. 97
WESTWINDS BRASS BAND Lubbock, Texas Dean Killion, Conductor
The 25-member Westwinds Brass Band was formed in 1987 under the direction of Dean Eillion. The band, based on the traditional British-style format, gives over twenty performances per year throughout the area for a variety of events. There are 23 members of the band who have had high school instrumental music training and 20 of the members have had college instrumental training as well. There are also 7 members who are current or former music educators and 2 members who are current or former professional musicians participating in the ensemble. Members of the band are not financially compensated for their time spent performing in the ensemble nor are they required to pay a participation fee to maintain their membership. Individual members are asked however, to provide their ovn matching attire for performances. The band provides several of the instruments used in the ensemble, including the E flat cornet and the baritones, as well as some of the B flat cornets, E flat alto horns, and percussion equipment. The instrumentation is as follows:
1 - E Flat Cornet 2 - Tenor Trombones 3 - Solo/ 1st B Flat Cornets 2 - Bass Trombones 2 - 2nd B Flat Cornets 2 - Baritones 2 - 3rd B Flat Cornets 2 - Euphoniums 1 - Repiano Cornet 1 - E Flat Tubs 1 - Flugelhorn 2 - B Flat Tubas 3 - E Flat Alto Horns 2 - Percussion 98
WHITBY BRASS BAND Whitby, Ontario Roland Hill, Conductor
The Whitby Brass Band traces its heritage back as far as 1857, when it was mentioned in the records of the local Masonic Order. The original band had approximately 18 musicians and was directed by Pete Waram. The band in its present form, now under the direction of Roland Hill, started after World War II when several dedicated musicians "recommissioned" the band instruments that had long before been put in storage. The band is a strictly amateur group, drawing its members from a wide range of professions. It serves its hometown and surrounding areas in a variety of fashions performing for numerous events. It it well known for its fine performances and it has also participated in North American Brass Band Association competitions. The band has also been involved with other brass bands as well, sponsoring a Junior Band and a Learner Class Band. The Whitby Brass Band presently has 33 participating members in the ensemble. Including 15 members who have had high school instrumental music training and 1 member who has had college instrumental music training. Members of the band are not required to pay any type of fee to participate in the group nor are they paid for their time spent performing in the ensemble. The band treasury provides the matching attire (blazers, etc.) worn for the performances as well as the majority of the instruments. The instrumentation of the band is listed below.
1 - E Flat Cornet (Sovereign) 3 - Tenor Trombones (Conn/King) 7- Solo/lst BFlat Cornets (Sovereign) 1 - Bass Trombone (Conn) 2 - 2nd B Fiat Cornets (Sovereign ) 2 - Baritones (Sovereign ) 2 - 3rd BFlat Cornets (Sovereign) 2 - Euphoniums (Sov. & Imp.) 1 - Repiano Cornet (Sovereign) 2 - EFlatTubas (Sov. U Imp.) 1 - Flugelhorn (Besson) 2 - B FlatTubas (Sov. & Imp.) 3 - E Flat Alto Horns (Sovereign ) 3 - Percussion 99
Compilation of Data from the North American Brass Band Survey
The information, presented in the remainder of this chapter is based upon data compiled from the responses of the participating brass band conductors/directors regarding membership demographics, organizational structure, rehearsals, performances, public/community support, repertoire. The North American Brass Band Association, and other general considerations. All of these areas vere addressed in items 10 through 68 of the survey questionnaire. The issues specifically addressed in items 10 through 20 of the survey questionnaire regard thv current membership demographics of the brass bands as indicated by the responding conductors/directors. Table 4 indicates the number, mean, and range of members participating in the various brass bands, as identified in question 10 of the survey questionnaire.
Tabled Participating Members N X Range
Participants 1.973 33.4 from 11 to 225
As can be seen from observing table 4, the respondents indicated that there were a total of 1,973 participating members in the ensembles. The mean of participants across the survey population was 33 4, while the range of participants fell between 11 and 225 inclusive. Table 5 indicates the number of brass band participants with high school instrumental music training, which was addressed in question 11. 100
Table 5 High School IcgtraiBeotal Music Traininy
Population Response (H.) Response (%)
H.S. Training 1.973 1,7% 91.0%
From table 5 it can be seen that the respondents indicated that 1,7% (91.0%) of the brass band membership have had high school instrumental music training. Table 6 indicates the respondents’ reply to question 12 of the survey questionnaire, regarding the number of participants with college instrumental music training.
Table 6 College Instrumental Music Training
Population Response (ÎJ) Response (%)
College Training 1.973 1,325 672%
As indicated in table 6,1,325 (672% ) of the participating brass band membership had some form of college instrumental music training. As addressed in item 13 of the survey questionnaire, table 7 reflects the number of brass band members in the responding organizations who are current or former music educators. 101
Table? Current or Former Music Educators
Population Response (^) Response (%)
Music Educators 1,973 480 24.3%
Table 7 reveals that 480 (24.3% ) oî the members in the responding brass bands are current or former music educators. Similarly, item 14 of the questionnaire concerned the number of band members who are current or former professional musicians. Table 8 indicates the response.
Table 8 Current or Former Professional Musicians
Population Response (}[) Response (%)
Professional Musicians 1,973 255 12.9%
Table 8 indicates that 235 (12.9%) of the participating members in the responding organizations are current or former professional musicians. Question 15 of the survey questionnaire dealt with the number of males and females in the participating ensembles. The responses to this question are presented in table 9. 102
Table 9 Number of Males and Females
Population Response (N) Response (%) Gender
Males 1,973 1,583 80.2% Females 1.973 390 19.8%
Table 9 reveals that the respondents indicated that 1,583 (802%) of the brass band participants are male, vhile 390 (19.8% ) are female. Table 10 indicates the response to item 16 of the questionnaire regarding the number of band members in various age brackets.
Table 10 Age Of Members
Frequency Percent Age Level
10-12 13 0.7% 13-18 173 9.0% 19-22 445 23.1% 23-30 277 14.4% 31-40 424 22.0% 41-50 327 17.0% 51-60 163 8.5% 61-70 91 4.7% Other 12 0.6%
The responses in table 10 indicate a wide range of age levels in the participating membership. A total of 13 (0.7%) members fell in the 10-12 category, while 173 (9.0%) were shown as being in the 13-18 age range. Of particular interest is that 1,473 (76.5%) of the members fell between the ages of 19 and 50 inclusively, while 163 103
(8.5%) vere in the 51-60 bracket and 91 (4.7%) were in the 61-70 group. There were 12 (0.6%) of the participants indicated as being in the "other " category by the respondents. Table 11 indicates the response to question 17 of the questionnaire concerning financial compensation of band members for time spent in the ensemble.
Table 11 Financial (Compensation of Members
Frequency Percent Response Yes 10 16.7% No 50 83.3%
As can be observed in table 11.10 (16.7%) of the respondents indicated that members of their brass band were financially compensated for time spent in the ensemble, while 50 (83 3% ) indicated that members were not compensated. A similar statement was posed in item IS. which was designed to determine if members of various ensembles were required to pay any type of a participation fee. Table 12 indicates the responses.
Table 12 Participation Fee Reouired of Members
Frequency Percent Response
Yes 17 28.3% No 43 71.7% 104
Table 12 demonstrates that, of the brass band conductors/directors responding, 17 (28.3%) of them conducted bands that required a participation fee from the membership, vhile 43 (71.7%) directed ensembles that did not require any type of fee. Item 19 of the survey questionnaire addressed the issue of performance attire vorn by the various bands represented in the respondent population. This information is presented in table 13-
Table 13 Band Performance Attire
Frequency Percent Type of Attire
Casual Clothes 4 6.2% Dress Clothes 16 25.0% Matching Blazers/Shirts/Etc. 29 45.3% Period Costume 3 4.7% Military Uniform 1 1.6% Band Uniform 7 10.9% Other 4 6.2%
Table 13 indicates that 4 (6.2%) of the responding bands wear casual clothes for performances, 16 (25.0%) choose to wear dress clothes, 29 (45 3%) wear matching blazers, etc,, 3 (4.7%) of the respondents outfit themselves in period costumes, 1 (1.6%) wears military uniforms, 7 (10.9%) wear a type of band uniform, and 4 (6.2%) wear a different type of attire (kilts, native dress, etc.) than those previously mentioned. The last of the questions in the survey questionnaire to address current membership demographics (item 20) dealt with identifying the provider of the attire worn for performances. Table 14 shows the responses. 105
Table H Provision of Band Performance Attire
Frequency Percent Provider
Individual Members 44 73.3% Band Treasury 8 13.3% Outside Sponsor/Donor 7 11.7% Other 1 1.7%
Table H reveals that, based on information supplied by the respondents, 44 (733%) of the bands ask the individual members to supply the uniform, vhile 8 (13 3% ) of the bands provide the uniform from funds in the band treasury. A total of 7 (11.7%) of the bands wear attire provided by an outside sponsor/donor and 1 (1.7%) indicated that the performance dress was supplied from a different source (band coordinator) than those listed. Items 21 through 25 of the survey questionnaire specifically addressed issues dealing with the current instrumentation of the responding brass bands. Table 15 indicates responses to item 21 of the survey questionnaire, which dealt with the type of high-brass instruments used in the bands.
Table 15 High Brass Instrumentation Frequency Percent Type of instrument
Cornets 42 70.0% Trumpets 5 8.3% Combination of Both 13 21.7% 106
The respondents indicated, as shown in table 15, that 48 (70.0%) of the bands used cornets to cover the high-brass parts, while 9 (8.3%) used trumpets exclusively. A total of 3 (21.7%) of the respondents indicated that a combination of cornets and trumpets were used by the ensemble. In item 22 of the survey questionnaire, respondents were asked to indicate the type of mid-range brass instruments which were used in their organization. These responses are presented in table 16.
Table 16 Mid-range Brass Instrumentation
Frequency Percent Type of instrument
E Flat Alto Horns 48 80.0% French Horns 9 15.0% Combination of Both 3 50%
Table 16 shows that 48 (80.0% ) of the respondents indicated the use of £ flat alto horns in the ensemble, 9 (150% ) used the French Horn to cover the middle voice lines, and 3 (50%) of the respondents indicated the use of a combination of both instruments to cover the mid-range parts. In the survey questionnaire, item 23 sought to determine the type of instruments used in brass bands to play the separate baritone and euphonium parts found in most brass band music. The results are shown in table 17. 107
Table 17 Baritone/Eu oh ooium Jnstrumeotatioo
Frequency Percent Type of instrument
Baritones 2 3.3% Euphoniums 8 133% Combination of Both 50 83.3%
Table 17 indicates that 2 (3 3%) of the respondents used only baritones in the ensemble, vhile 8 (13.3%) used strictly euphoniums to cover the baritone and euphonium parts, A full 50 (83 3%) chose to use baritones and euphoniums as commonly indicated in the scores of most brass band compositions/arrangements. The final tvo items of the survey questionnaire regarding instrumentation (items 24 and 25) are addressed in the first portion of this chapter, in the section dealing vith the background information of each band. Eovever, table 18 does indicate the number of brass bands vhich are actually all-brass, or all-brass and percussion, and those vhich in fact contain voodvinds/other instruments.
Table 18 Brass Band Instrumentation
Frequency Percent Instrumentation
All-brass (vith or without perc.) 55 91.7% All-brass with woodwinds/other 5 8.3%
Table 18 demonstrates that 55 (91.7% ) of the respondents' bands vere all-brass, or all- brass and percussion ensembles. Only 5 (8.3% ) of the respondents revealed that their 108
bands actually contained woodwinds or other types of instruments as well. Items 26 through 37 of the survey questionnaire attempted to determine the organizational structure of brass bands based on information provided by the respondents. Question 26 addressed the issue of whether or not the band was incorporated. Table 19 presents the responses to this question.
Table 19 Band Incorporation
Frequency Percent Response
Yes 30 50.0% No 30 50.0%
Table 19 reveals an even split; 30 (50.0% ) of the respondents indicated that their band was indeed incorporated, while 30 (50.0%) indicated that their ensemble was not incorporated. Table 20 shows the response to question 27, which examines the status of the brass band as a tax exempt organization.
Table 20 Tax Exempt Status Frequency Percent Response Yes 57 61.7% No 23 38.3% 109
As shown in table 20, 37 (61.7% ) of the respondents indicated that their ensemble was a tax exempt organization, while 23 (38 3% ) indicated that their band did not have tax exempt status. Item 28 of the questionnaire asked if the band utilized a constitution and/or set of by-laws as part of its organizational structure. Table 21 shows the response.
Table 21 Utilization of (lonstitution/Set of Bv-laws
Frequency Percent Response
Yes 35 58.3% No 25 41.7%
As presented in table 21, 35 (58.3%) of the respondents revealed that their band did use a constitution and/or set of by-laws as part of its organizational structure. A total of 25 (41.7% ) respondents indicated that their organization did not. Table 22 shows the response to question 29 concerning the inclusion of a Board of Directors as a part of the band organizational structure.
Table 22 Inclusion of Board of Directors as Fart of Organizational Structure Frequency Percent Response
Yes 32 53.3% No 28 46.7% 110
Table 22 reveals that 32 (53 3%) of the respondents indicated that their band organization did include a Board of Directors, while 28 (46.7%) indicated that their ensembles did not utilize a Board of Directors group. Item 30 of the survey questionnaire addressed the issue of the use of a set of officers in the organizational structure of the band. Table 23 indicates the respondents’ views on this issue.
Table 23 Inclusion of a Set of Officers as Part of Organization
Frequency Percent Response
Yes 34 56.7% No 26 433%
As shown in Table 23. 34 (56.7% ) of the respondents did indicate the use of a set of officers in the organizational structure of the ensemble. A full 26 (43 3%) of the respondents did not include a set of officers as a part of the band organization. Table 24 reveals the response to question 31. which was designed to determine if the ensembles utilized various committees for public relations, funding, etc.
Table 24 Utilization of Committees
Frequency Percent Response Yes 28 46.7% No 32 53.3% I l l
The results in table 24 indicate that 28 (46.7%) of the respondents do utilize committees for public relations, funding, etc. 32 (533%) of the respondents gave a negative response to this issue. Item 32 of the survey questionnaire was designed to determine how individuals are selected for membership in brass bands. The responses are shown in table 25
Table 25 Membership Selection Frequency Percent Method
Audition 23 31.5% Invitation 41 56.2% Other 9 12.3%
Table 25 shows that, based on data from the respondents, 23 (31.5%) selected membership by audition, 41 (56.2%) selected membership by invitation, and 9 (12.3%) indicated membership selection by some other means (nomination, alumnus of another band, expression of interest, etc.). In question 33 of the survey questionnaire, respondents were asked to indicate the method by which conductors were selected to direct the band. The responses are contained in table 26. 112
Table 26 Conductor Selection Frequency Percent Method
Conductor is organizer of band 22 34.4% Audition 10 15.6% Invitation 27 42.2% Other 5 7.8%
As is presented in table 26 regarding the issue of conductor selection, 22 (34.4%) of the respondents indicated that the conductor vas the person vho organized the ensemble. 10 (15 6% ) indicated that the ensembles selected conductors by audition, 27 (422%) indicated that conductors were selected by invitation, and 5 (7.8%) of the respondents indicated that some other method (promoted from the ranks, hired by the school and/or funding organization, etc.) vas used by the band to make the selection . Table 27 supplies information concerning the type of compensation (if any) avarded to the brass band conductor, as addressed in item 34 of the questionnaire.
Table 27 Conductor Compensation Frequency Percent Type
Salary 17 27.9% Expenses 5 82% None given 33 54.1% Other 6 9.8% 113
Table 27 reveals that, according to the respondents, 17 (27.9% ) of the conductors are given a salary to serve as conductor of the band, while 5 (S.2%) are given compensation for any expenses that might be incurred as the conductor. A total of 33 (54.1%) indicated that no payment was awarded and finally, 6 (9.8%) of the respondents indicated that some other means (honorarium, etc.) was used to financially compensate the conductor. Question 35 attempted to reveal the primary source of funding for the brass bands represented in the survey. The responses are listed in table 28.
Table 28 Primary Source of Funding Frequency Percent Source
(Concert donations 34 43.0% Corporate sponsorship 11 13.9% Member dues/participation fees 8 10.1% Municipal tax 5 6.3% Other 21 26.6%
As is evident in table 28, 34 (43 0% ) of the respondents listed concert donations as the primary source of funding, while 11(13-9%) indicated that corporate sponsorship was the primary source. There were 8 (10.1%) who revealed that member dues/participation fees were the primary source, 5 (6.3%) listed municipal tax as the main source, and 21 (26.6%) of the respondents indicated that funding was obtained in some ether manner (foundation, university funds, government grants, etc.). The intent of question 36 was to determine the estimated operating budget of the band for a given calendar year. Table 29 shows the mean response to that question. 114
Table 29 Operating Budget - All Respondents
X Range Budget
Total operating budget $49,695.11 from $165.00 to $1,167,260.00
As is evident in table 29, the average total operating budget, based on figures given by the respondents, was $49,69511. Table 30 shows the mean response to question 36 by those bands that consider themselves to be amateur organizations (members receive no compensation ) with no financial support from public/private schools/universities.
Table 30
X Range Budget
Total operating budget $7,860.43 from $165.00 to $27.500.00
Table 30 shows that the average total operating budget of amateur brass bands without school/university financial support was $7,860.43. Table 31 shows the mean response also to question 36 by those amateur bands that are financially supported by public/private schools/universities. 115
Table 31 Ooeratiag Budget - Amateur Band Respondents with School/Upiversitv Support
X Range Budget
Total operating budget $45.600.00 from $500.00 to $121,000.00
Table 31 shovs that the average total operating budget of amateur brass bands with school/university support was $45.500.00. Table 32 shows the mean response again to question 36 by those bands that consider themselves to be professional organizations (members receive financial compensation).
Table 32 Operating Budget - Professional Band Respondents
X Range Budget
Total operating budget $236.032.50 from $4.000.00 to $1.167,260.00
Table 32 reveals that the average total operating budget of those brass bands that consider themselves to be professional organizations was $236.032.50. The purpose of the final question of the survey questionnaire regarding the organizational structure of brass bands (item 37) was to determine if the bands help finance or support any other band or musical organization. Table 33 reveals the responses. 116
Table 33 Support of Other Baods/MusicaJ Organizations
Frequency Percent Response
Yes 11 18.3% No 49 81.7%
Table 33 shows that 11 (18.3% ) of the respondents revealed that their organization did indeed help finance or support another band or musical organization, while 49 (81.7%) of the responding individuals indicated that their ensemble did not provide any type of support to any other musical organization. Item 37 also allowed the affirmative respondents the opportunity to list what band or musical organization that their ensemble helped finance or support. These musical groups are listed in alphabetical order in table 34.
Table 34 Bands/Musical Organizations Supported bv Another Brass Band
Band Name Location
Eannaford Street Youth Band Toronto, ON Junior Varsity All-Star Brass Band Columbus, OE Ohio Collegiate Brass Columbus, OH Ohio State University Marching Band Columbus, OH Ohio State University Alumni Band Columbus, OH River City Youth Brass Band Pittsburgh, PA St. Johns River City Youth Band Jacksonville, FL Varsity All-Star Brass Band Columbus, OE Whitby Junior Band Whitby, ON 117
Table 3< lists those brass bands which respondents indicated were supported in some fashion by another brass band. It should be also be noted that one respondent's band supports a vocal ensemble, and that another respondent's ensemble supports several musical groups through the provision of various music scholarships. Questions 38 through î3 of the sun'ey questionnaire were designed to gather information concerning brass band rehearsals and performances. The intent of question 38 was to determine the number of months per year that the bands rehearsed/performed. Table 35 shows the mean response to that question.
Table 35 Months of Rehearsals/Performances X Range
Months per year 8.8 from 1 to 12
As is evident in table 35, the average number of months per year that the bands rehearse/perform, based on figures given by the respondents, was 8.8 months. Item 39 of the survey questionnaire sought to determine how often the bands held rehearsals in preparation for performances. Table 36 reflects the responses to this question. 118
Table 36 Freouencv of Rehearsals
Frequency Percent Frequency
Once a month 0 0.0% Once every two veeks 6 10.0% Once a week 38 63.3% Twice per week 3 5.0% 13 21.7%
As presented in table 36, none (0.0%) of the respondents indicated that their bands rehearsed once a month, while 6 (10.0%) held rehearsals once every two weeks. A full 38 (63 3% ) held rehearsals once a week. 3 (5 0% ) opted for twice per week, and a total of 13 (21.7%) indicated that the frequency of rehearsals was different (only when needed, three times per month, weekends, etc.) than the options presented above. Question 40. with responses presented in table 37, asked respondents to indicate the average length of each rehearsal.
Table 37 Length of Rehearsals Frequency Percent Length
One hour 1 1.7% One and one-half hours 12 20.0% Two hours 37 61.7% Other 10 16.7%
Table 37 reveals that 1 (1.7%) of the respondents held rehearsals for an average length of one hour, while 12 (20.0%) opted for rehearsal of an hour and a half in 119 length. There vere 37 (61.7%) vho chose two hours as their length of rehearsal and 10 (16.7%) indicated rehearsals of another length (ranging from thirty minutes to three hours) than those listed. Table 38 presents the responses to item 41 of the survey questionnaire, which addressed the location of band rehearsals.
Table 38 Location of Rehearsals
Frequency Percent Location
University/public school 38 63.3% (Zhurch 6 10.0% Band-owned rehearsal haU 4 6.7% Local auditorium 7 11.7% Other 5 8.3%
As can be seen in table 38, a total of 38 (63 3% ) of the respondents held rehearsals in university/public school facility. 6 (10.0%) met in a church, 4 (6.7%) used their own band-owned rehearsal hall, 7 (11.7%) used a local auditorium, and 5 (8.3%) indicated the use of some other location (private home, hospital classroom, city facility, etc.) as the locale for band rehearsals. (Question 42 was designed to determine the average number of performances given by the bands in a calendar year. The responses can be observed in table 39. 120
Table 39 Amount of Performances per Year
Frequency Percent Amount
0-10 33 55.0% 11-20 15 25.0% 21-30 7 11.7% 31-40 2 3.3% 41-50 0 0.0% Other 3 5.0%
Table 39 indicates that, according to the respondents, 33 (55-0% ) of the bands held 0- 10 performances per year, 15 (25.0%) performed 11-20 times a year, 7 (11.7%) presented 21-30 performances in a 12-month period, 2 (3 3%) gave 31-40 concert presentations, none (0.0%) of the ensembles performed in the 41-50 concerts per year category, and 3 (50%) indicated a higher number of performances (above 50) than those listed. The last item in the survey questionnaire dealing with rehearsals and performances (question 43) sought to determine the venue where the majority of brass band performances were held. Table 40 presents these findings.
Table 40 Location of Performances Frequency Percent Location
University/public school auditorium 21 23 3% Church 17 18.9% Outdoor facility 26 28.9% Public auditorium 19 21.1% Other 7 7.8% 121
Table 40 shows that 21 (23.3%) of the respondents indicated that the majority of the performances were held in a university/public school auditorium, while 17 (18,9%) presented performances in a church. There were 26 (28.9%) of the respondents who indicated that their group's presentations were primarily in zm outdoor facility, while 19 (21.1% ) indicated the use of a public auditorium with 7 (7.8% ) revealing that performances were given in another locale (ranging from private residences to convention centers, etc.). Items 44 through 48 of the survey questionnaire were focused specifically in the area of public/community support for brass bands. The respondents were asked to respond on a five-point Likert scale (SA being strongly agree, A for agree, U for undecided, D for disagree, and SD for strongly disagree) to a series of statements relative to this issue. Item 44 in the questionnaire states:
"Brass band performances are well attended by members of the community."
Table 41 reveals the responses:
Table 41 Performances Well Attended bv Members of the Community
Frequency Percent Agreement Level
Strongly agree 9 15.8% Agree 25 43.9% Undecided 8 14.0% Disagree 13 22.8% Strongly disagree 2 3.5% 122
As can be seen from table ■41, there was a wide range of responses to the statement; 9 (15.8%) strongly agreed, while 25 (43 9%) agreed that brass band performances were well-attended by members of the community. (Conversely, 8 (14.0%) were undecided regarding the issue, while 13 (22.8%) disagreed, and 2 (3 5%) strongly disagreed that their performances were well-attended. The statement presented in item 45 of the survey questionnaire was designed to determine if the brass band was the "best known instrumental music ensemble in the community." The responses are revealed below in table 42.
Table 42 Brass Band is Best Known_Instrumenta! Music Ensemble in Community
Frequency Percent Agreement Level Strongly agree 8 13 8% Agree 7 12.1% Undecided 5 8.6% Disagree 28 48.3% Strongly disagree 10 172%
Table 42 indicates that 8 (13.8%) of the respondents strongly agreed with the statement, 7 (12.1%) agreed, and 5 (8.6%) were undecided as to whether their brass band was the best known instrumental ensemble in the community. A total of 28 (48.3% ) disagreed with the statement, with 10 (172% ) strongly disagreeing. Item 46 sought to determine if the local news media did "an effective job of publicizing brass band performances." The responses to the statement are presented in table 43. 123
Table 43 Nevs Media Does an Effective lob of Publicizing Brass Band Performances
Frequency Percent Agreement Level
Strongly agree 4 7.0% Agree 15 26.3% Undecided 9 15.8% Disagree 19 333% Strongly disagree 10 17.5%
The response in table 43 indicate that 4 (7.0%) of the respondents strongly agreed vith the statement regarding the effectiveness of local news media in publicizing brass band performances, while 15 (26.3%) agreed, and 9 (158%) were undecided. There were 19 (33 3% ) who disagreed with the statement and 10 (17.5% ) who strongly disagreed. A similar statement was posed in item 47, which was designed to determine the respondents' feelings toward the effectiveness of the local news media in "covering/reviewing brass band performances." Table 44 indicates the responses, again in terms of percentage agreement.
Table 44
Frequency Percent Agreement Level
Strongly agree 5 8.6% Agree 5 8.6% Undecided 3 5.2% Disagree 30 51.7% Strongly disagree 15 25.9% 124
As revealed in table 44. the respondents indicated even less certainty in the ability of the news media to effectively cover/review brass band performances. There were 5 (8.6%) who strongly agreed with the statement, 5 (8.6%) who agreed, and 3 (5.2%) who indicated that they were undecided. A total of 30 (51.7%) disagreed with the statement, while 15 (25.9% ) strongly disagreed. The final item of the survey questionnaire in the area of public/community support (item 48) sought to determine the respondents' level of agreement to the following statement.
"The community is willing to provide necessary financial support through donations, grants, etc. to help keep the band operating."
Table 45 provides the responses:
Table 45 Community is Willing to Provide Necessary Financial Support
Frequency Percent Agreement Level
Strongly agree 3 5 .3% Agree 13 22.8% Undecided 16 28.1% Disagree 18 31.6% Strongly disagree 7 12.3%
Responses to item 48. as evidenced in table 45, indicate a wide range of agreement levels, with 18 (28.1%) in agreement to the statement and 25 (43 9%) in disagreement. There were 16 (28.1%) of the respondents who were undecided regarding the willingness of the community to financially support brass bands. 125
Items <9 through 56 of the survey questionnaire were designed to specifically address the brass band repertoire selection process. In items 49 through 55 of this section, respondents vere again asked to respond on a five-point Likert scale (SA being strongly agree, A for agree, U for undecided, D for disagree, and SD for strongly disagree) to a series of statements regarding music selection for brass band performances. The statement presented in item 49, with responses indicated in table 46, sought to determine the degree to which respondents' chose performance literature that challenged the performers' "interpretive abilities, technique, and capacity for artistic involvement."
Table 46 Literature Challenges Performers' Technique. Interpretive and Artistic Abilities
Frequency Percent Agreement Level
Strongly agree 35 58.3% Agree 24 40.0% Undecided 1 1.7% Disagree 0 0.0% Strongly disagree 0 0.0%
Table 46 shows that a total of 59 (98.3%) respondents agreed with the statement in item 49 regarding literature selection, with 1 (1.7%) being undecided. None (0.0%) of the respondents disagreed with the statement. Item 50 of the survey questionnaire sought the respondents' level of agreement to a statement concerning if the literature was "well within the capabilities of the band, and within the limits of rehearsal time available." Table 47 reveals the respondents' percentage agreement to this statement. 126
Table <7 Literature is Witbio Capabilities of Band aad Rehearsal Time Limits
Frequency Percent Agreement Level
Strongly agree 23 38 3% Agree 31 51.7% Undecided 3 5-0% Disagree 3 5.0% Strongly disagree 0 0.0%
Table 47 indicates that 23 (38.3%) of the respondents strongly agreed, vhile 31 (51.7%) agreed, to the statement concerning the chosen literature being vithin the capabilities of the band, as veil as vithin rehearsal time constraints. There vere 3 (5.0%) of the respondents vho vere undecided on the issue, and 3 (5 0%) vho indicated disagreement to the statement. Table 48 indicates the responses to item 52 of the survey questionnaire, concerning the literature chosen as representing "a vide range of styles' and presenting "an overall variety' to the listening audience.
Table 48 Literature Presents Wide Ranee of Stvles and Overall Variety to Audience
Frequency Percent Agreement Level
Strongly agree 31 51.7% Agree 28 46.7% Undecided 1 1.7% Disagree 0 0.0% Strongly disagree 0 0.0% 127
As can be observed in table 48, only 1 (1.7%) of the respondents vas undecided on this issue, vhile 59 (98.4%) vere in agreement that the literature chosen for performances did indeed represent a vide range of styles, as veil as present an overall variety to the audiences. In addition, it should be noted that none (0.0%) of the respondents disagreed vith the statement. Item 52 presented this statement to the respondents for their consideration;
"The literature performed is primarily original compositions for brass band vritten by British composers,"
Table 49 provides the responses:
Table 49 Literature is Primarily Original Brass Band Works bv British Composers
Frequency Percent Agreement Level
Strongly agree S 13.3% Agree 20 33.3% Undecided 7 11.7% Disagree 22 36.7% Strongly disagree 3 5.0%
As is evident in table 49, 28 (46.6%) of the respondents agreed vith the statement, 7 (11.7%) vere undecided, and 25 (41.7%) disagreed vith the statement regarding the literature chosen for performance as being primarily original vorks for brass bands by British composers. Item 53 posed a similar statement, vhich vas designed to reveal if the literature performed included "transcriptions and arrangements, as veil as original vorks for brass band.” The responses, in table 50, are as foliovs: 128
Table 50
Frequency Percent Agreement Level
Strongly agree 18 30.0% Agree 40 66.7% Undecided 2 3.3% Disagree 0 0.0% Strongly disagree 0 0.0%
Table 50 mdicates that a total of 58 (96.7%) respondents agreed vith the statement regarding the inclusion of transcriptions, arrangements, vhile 2 (3 3%) vere undecided. None (0.0%) of the respondents indicated disagreement vith the statement. Table 51 shovs the responses to item 54 of the survey questionnaire, vhich addressed the issue of literature selection being determined "by the nature and location of the event.”
Table 51 Performance Literature Determined bv Nature and Location of Event Frequency Percent Agreement Level
Strongly agree 34 56.7% Agree 22 36.7% Undecided 3 5 0% Disagree 1 1.7% Strongly disagree 0 0.0% 129
As can be seen in table 51. 34 (56.7%) of the respondents strongly agreed that literature chose for performances was determined by the nature and location of the event, while 22 (36.7%) agreed with the statement. Only 3 (5 0%) of the respondents were undecided on the issue, while 1 (1.7%) disagreed with the statement previously mentioned. Item 55 challenged the respondents to consider if the band literature chosen for performance reflected "a desire to raise the musical consciousness of both the listening audience and the performers." The responses, in table 52, were as follows:
Table 52 Literature Chosen Reflects Desire to.Rsise Musical Consciousness
Frequency Percent Agreement Level
Strongly agree 26 43.3% Agree 22 36.7% Undecided 9 15.0% Disagree 1 1.7% Strongly disagree 2 3.3%
The responses listed in table 52 indicate that 48 (80.0%) of the respondents agreed with the statement regarding the selection of music as a reflection of a desire to raise the musical consciousness of the performers and the audience; 9 (15.0%) of the respondents were undecided on this matter, an;!l a total of 3 (5.0%) disagreed with the statement. The final item (56) of the survey questionnaire dealing with repertoire asked the respondents to indicate the source from which musical arrangements for the brass band are purchased. The results are presented in table 53 130
Table 53 Locatioc Where Brass Band Arrangements are Purchased
Frequency Percent Location Local music retailer 6 6.7% Mail-order supplier in United States 41 46.1% Mail-order supplier in Canada 1 1.1% Mail-order supplier overseas 23 25.8% Other 18 20.2%
Table 53 indicates that 6 (6.7%) of the respondents make music purchases from local music retailers, 41 (46.1%) make purchases from a mail-order supplier in the United Stales. 1 (1.1%) buys music from a mail-order supplier in Canada, and 23 (25 8%) make their purchases from a mail-order supplier overseas. There vere 18 (20.2%) respondents vho indicated that they made music purchases from a source (another band, individual composer/arranger, etc.) other than those listed above. Items 57 through 63 of the survey questionnaire deal specifically vith issues pertaining to the role of the North American Brass Band Association (NABBA) in promoting, organizing, etc. brass bands in the United States and Canada. Item 57 sought to determine the number of respondents vhose bands were members of the North American Brass Band Association. The response to this question is presented in table 54. 131
Table 54 Band is a Member of North American Brass Band Association
Frequency Percent Response
Yes 31 51.7% No 29 48.3%
Table 54 reveals Uiat 31 (51.7%) of the respondents' musical groups were in fact members of NABBA, while 29 (48.3% ) indicated that their ensemble was not a member of the organization. Item 57 also gave the respondents the opportunity to state "why" their ensemble was not a member of the North American Brass Band Association. While some responses were similar in nature, all responses that were different are listed. It should be noted that the following listing, shown in table 55, is presented in order of occurrence, notin order of significance. 132
Table 55 Reasons For Band Not Being a Member of NABBA
Comments
Our ensemble is not a true British-style brass band, due to instrumentation,etc. Can not afford dues Not much value received from the affiliation Primarily concerned vith developing activities in our ovn community Band is not, some individuals are Membership has not been pursued Was, but ve use French Horns and have been duly ignored Do not give enough concerts to vant membership The association is inconsistent in its contact vith us Money is better used to buy music Feel that the Canadian Band Association provides better rapport Not enough information, vould like to be Religious organization
As previously mentioned, table 55 presents reasons stated by some respondents for their band not being members of NABBA. Question 58 sought to determine if respondents felt that the North American Brass Band Association vas doing an adequate job of promoting the brass band movement in the United States and Canada. Table 56 provides these responses.
Table 56 NABBA is Doing an Adequate lob of Promoting Brass Bands
Frequency Percent Response
Yes 25 43.1% No 11 19.0% Undecided 22 37.9% 133
As is obvious in table 56, 25 (43 1% ) of the respondents felt that NABBA was doing an adequate job of promoting the brass band movement, while 11 (19,0%) indicated a negative response to the question. There were 22 (37.9% ) who were undecided on this issue. Question 59 of the survey questionnaire asked respondents to indicate if their ensemble had ever competed in the NABBA-sponsored North American Brass Band Championships. Their responses are presented in table 57.
Table 57 Participation in NABBA-soonsored North American Brass Band Championships
Frequency Percent Response
Yes 23 39.7% No 35 60.3%
As indicated in table 57,23 (39.7% ) of the respondents revealed that their band had indeed participated in the NABBA-sponsored North American Brass Band Championships while 33 (60.3%) indicated that their ensembles had never competed in the event. Table 58 reflects the responses to question 60, which asks the respondents if their brass band has ever participated in the NABBA-sponsored Video Championships. 134
Table 58 Participation in NABBA-sponsored Video Cbamoionships
Frequency Percent Response
Yes 3 5.2% No 55 94.8%
As revealed in table 58, 3 (5 2%) of the respondents had entered their brass bands in the NABBA-sponsored Video Championships, vhile 55 (94.8% ) had not participated in the event. Item 61 of the suivey questionnaire sought to determine if the respondents vould be viliing to enter their ensembles in regional competitions throughout North America, vith regional vinners advancing to a central location for a final championship contest. Their responses are presented in table 59.
Table 59 Willing to Participate in Regional Competitions. Advancing to Final Championship
Frequency Percent Response
Ÿës 27 46.5% No 20 34.5% Undecided 11 19.0%
Table 59 indicates that 27 (45.5%) of the respondents expressed an interest in participating in regional competitions as mentioned above which would culminate in a final championship competition. While 20 (34.5% ) expressed negativity to this idea, 11 (19.0% ) indicated that they vere undecided on the issue. 135
Table 60 reveals the responses to question 62, which asked respondents if they felt that "contesting" was really of value to the brass band activity in North America.
Table 60 "Contesting" is Valuable to North American Brass Band Movement
Frequency Percent Response
Yes 38 65.5% No 7 12.1% Undecided 13 22.4%
There were 38 (65 5%) respondents, as shown in table 60. who indicated a positive reaction to the value of “contesting” to the brass band movement. A total of 7 (12.1%) gave a negative response to this issue, while 13 (22.4%) were undecided. The final item in the section of the survey questionnaire dealing with the North American Brass Band Association invited the respondents to make comments and/or suggestions regarding the value of competitions in the brass band world and NABBA s efforts to further promote the brass band movement in North America. Table 61 provides a listing of these comments/suggestions. While some responses were similar in nature, all responses that were in fact different are listed. It should be noted that the following compilation is constructed in order of occurrence, not in order of importance. 136
Table 61 Suggestions/Comments Regarding the Value of ComoetitioQ aod the Role of NABBA
Suggestions/Co mmenls
Performances should be for aesthetic pleasure, not competition Consider festivals instead of competitions Competition is best way to raise performance standards, hear new literature Travel to contests too far/expensive for Western bands Competition is exciting but a bit stressful Love to meet and talk with other "music makers” Not interested in competitions for the sake of competing Keep contests on a friendly basis We lack a consistent and sufficient money supply Do not favor rules concerning instrumentation and style Like the idea of judges behind screens Not good enough to compete Biggest problem is recruiting good solo cornet players Rare for us to have everyone present for rehearsals or performances Town is so small,it is interesting that we have the band at all Need to involve music educators at the secondary level (especially college) Disagree with limited amount of literature to choose from at competitions Personal contact among bands best way to promote interest in the activity We North Americans are too obsessed with competitions Distribute video tapes of performances Disagree with new rule of 3 numbers to choose from, adds another variable to judging Why go to contest to be told about problems I know about already Regional contests might be viable in future but too expensive now. North America too big for number of brass bands Would help for brass bands to offer performances for minimal cost, for visibility,sic. Promote regional concerts/workshops Money is better spent on music and noton travel to contests Would favor regional contests only Yamaha's seminars are excellent The word competition is negative to many people, festival would be better Guest artists, clinics, educational experiences, may boost attendance More exposure through TV, tours, etc. Open competitions to non-British style groups Playing level and enjoyment has increased every time we have competed Contests should judge overall performance - staging, etc.; open all sections to non-British style groups Run contests like a convention - provide social activities, workshops, etc. Coordinate tours of British conductors Re-awaken Canadian participation Develop central NABBA fund raising to strengthen the organization and assist in starting of bands Develop low-cost travel methods to encourag ? bands to compete Add a college-only division at contest Promote literature exchanges between bands 137
Table 61 (continued)
Promote the activity through television and radio Make NABBA-sponsored guest conductors available to bands Find it difficult to concentrate on contesting with present membership Competition is only one facet of banding overseas that contributes to the growth and excellence of banding here, other facets - "Connections" with publishers, public t'\edia (especially radio), professional conductors and musicians, etc, are not yet factors in North America: one factor peculiar to the U.S. is presence of music educators in policy making/music making rules - is in most cases a negative factor, insulated and isolated as most are from the realities of music-making - whether amateur or professional - in the community Keep up the good work, brass band organizing is a difficult task
It is evident from the listing in table 61 that there are an abundance of beliefs regarding the value of competitions and the role of the North American Brass Band Association in the promotion of the brass band activity in the United States and Canada. The final section of the survey questionnaire (items 64 through 68) dealt with general considerations regarding the brass band activity in North America. In items 64 through 67 of this section, respondents were asked as before to respond on a five- point Likert scale (SA being strongly agree, A for agree, ü for undecided, D for disagree, and SD for strongly disagree) to a series of statements regarding general brass band issues. Item 64 presented this statement for consideration fay the respondents:
"Membership in the band is an important part of a band member's life, representing a genuine love of music." 138
Table 62 provides the responses:
Table 62 Membership in a Band Represents s Member's Genuine Love of Music
Frequency Percent Agreement Level
Strongly agree 25 41.7% Agree 30 50.0% Undecided 3 5.0% Disagree 1 1.7% Strongly disagree 1 1.7%
Table 62 reveals that a total of 55 (91.7%) of the respondents agreed with the above statement, while 3 (5 0% ) were undecided . and 2 (34% ) disagreed. Item 64 was designed to determine the respondents' level of agreement to a statement concerning band membership as being "as much a social activity as it is a musical activity. The responses to this statement are presented in table 63.
Table 63 Band Membership is a Social as Well as Musical Activity Frequency Percent Agreement Level
Strongly agree 11 18.3% Agree 30 50.0% Undecided 12 20 .0 % Disagree 7 11.7% Strongly disagree 0 0 .0 % 139
As can be seen in table 63, 11 (18.3%) of the respondents strongly agreed with the statement, 30 (50.0%) agreed, 12 (20.0%) were undecided, and 7 (11.7%) disagreed with the concept of band membership being as much a social activity as it is a musical activity. Table 64 provides the responses to item 66 of the survey questionnaire, which addressed the issue of membership in the band representing "a general positive attitude by the band members concerning the value of music education in public schools, universities, etc."
Table 64
Frequency Percent Agreement Level
Strongly agree 17 28.3% Agree 28 46.7% Undecided 13 21.7% Disagree 1 1.7% Strongly disagree 1 1.7%
Table 64 reveals that a total of 45 (75.0%) of the respondents believe that band membership represents the members' positive attitude toward music education, while 13 (21.7% ) were undecided on the issue, and 2 (3 4% ) disagreed with the statement. Item 67 presented the following statement for consideration:
"Brass Banding is perhaps the best example of amateur adult music-making in the world." 140
Table 65 provides the responses to the previous statement: