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Bruce Mccrea Bugles and Scouting
BUGLES AND SCOUTING BRUCE MCCREA BUGLES AND SCOUTING BRUCE MCCREA Table of Contents - Revised July 30, 2015 Chapters and sections with titles in italics are not yet completed. Chapter 1. INTRODUCTION Chapter 2. OFFICIAL AND UNOFFICIAL BUGLES AND ACCESSORIES MARKETED TO AMERICAN BOY SCOUTS A. A POSSIBLE OFFICIAL BUGLE OF THE UNITED STATES BOY SCOUTS page 2-1 B. HISTORY OF BUGLES SOLD BY BOY SCOUTS OF AMERICA page 2-2 C. THE MYSTERY OF THE REXCRAFT “JAMBOREE” BUGLE page 2-22 D. OTHER BUGLES SOLD IN THE U.S THAT WERE ENGRAVED “BOY SCOUT” page 2-23 E. OFFICIAL BOY SCOUT BUGLES IN PRIZE CATALOGS F. BUGLE BAGS AND CORDS SOLD BY BSA G. BUGLE INSTRUCTION BOOKS AND RECORDS SOLD BY BSA H. BUGLE ADS IN BOYS LIFE MAGAZINES AND BOY SCOUT HANDBOOKS Chapter 3. OFFICIAL AND UNOFFICIAL BUGLES OF OTHER NATIONAL SCOUT ASSOCIATIONS A. OFFICIAL GIRL SCOUTS OF AMERICA BUGLE page 3-1 B. OFFICIAL BOY SCOUTS OF THE PHILIPPINES BUGLE page 3-3 C. UNOFFICIAL AMERICA “GIRL SCOUT” BUGLE page 3-4 D. UNOFFICIAL CANADIAN “BOY SCOUT” BUGLE page 3-5 BUGLES AND SCOUTING CONTENTS PAGE 2 Chapter 4. BUGLER/BUGLING MERIT BADGES AND PROFICIENCY BADGES A. BOY SCOUTS OF AMERICA page 4-1 B. GIRL SCOUTS OF AMERICA page 4-4 C. THE BOY SCOUT ASSOCIATION (UK AND THE COMMONWEALTH) page 4-6 Chapter 5. UNIQUELY BSA? - BUGLER POSITION PATCHES AND SCOUT BUGLING COMPETITIONS AND AWARDS Chapter 6. SCOUT DRUM AND BUGLE CORPS Chapter 7. CIGARETTE CARDS, POSTCARDS, POSTAGE STAMPS, TOY FIGURES, MAGAZINE COVERS, AND SHEET MUSIC SHOWING SCOUT BUGLERS A. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
The Alphorn Through the Eyes of the Classical Composer
The Alphorn through the Eyes of the Classical Composer by Frances Jones Series in Music Copyright © 2020 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright holder and Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Music Library of Congress Control Number: 2020940993 ISBN: 978-1-64889-044-4 Also available: 978-1-64889-060-4 [Hardback, Premium Color] Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: Lai da Palpuogna, Canton Graubunden, eastern Switzerland, photo Frances Jones. Table of Contents Table of Figures v Preface xxi Foreword xxiii Chapter 1 The Alphorn 1 Chapter 2 The Alphorn in Christmas Music, the Pastorella 29 Chapter 3 Leopold Mozart’s Sinfonia Pastorella for Alphorn and Strings 97 Chapter 4 ‘That Air’: The Appenzell Kühreien 131 Chapter 5 Alphorn Motifs in Romantic Repertoire 185 Chapter 6 The Alphorn for the Modern Composer 273 Appendix : Works that include Alphorn Motifs 295 Bibliography 299 Index 307 List of Figures and Tables Figures Fig. -
Primary Education Kit
Primary Education Kit VISITING THE AUSTRALIAN MUSEUM BRIEFING A Museum staff member will be on hand to greet your group when you arrive. They will brief your groups about how to move around the Museum and direct you to areas of the Museum you intend to visit. BAG STORAGE There is limited bag storage available on site. It is recommended that students just bring a small carry bag with the essentials for the day, however if required, storage can be provided depending on availability. EXHIBITIONS In addition to any booked educator-led sessions, students and teachers may explore the Museum’s exhibitions in their own time. Some special exhibitions may incur an additional charge. It is suggested that students visit the galleries in small groups to prevent overcrowding. LUNCH AND BREAKS It is recommended that students bring their recess and lunch and eat in Hyde Park or Cook & Phillip Park, both of which are across the road from the Museum. Alternative arrangements will be provided in the case of wet weather. BYOD AND PHOTOGRAPHY Students are encouraged to bring their own devices to take photos, video and/or audio to record their excursion. Some temporary exhibitions do not allow photography but you will be advised of this on arrival. FREE WIFI The Museum offers free Wi-fi for onsite visitors. It is available in 30 minute sessions. Students and teachers can log on for more than one session. PHOTOCOPYING Please photocopy the following materials for students and accompanying adults prior to your visit. SUPERVISION Teachers and supervising adults are required to stay with their groups at all times. -
Building Panethnic Coalitions in Asian American, Native Hawaiian And
Building Panethnic Coalitions in Asian American, Native Hawaiian and Pacific Islander Communities: Opportunities & Challenges This paper is one in a series of evaluation products emerging states around the country were supported through this pro- from Social Policy Research Associates’ evaluation of Health gram, with the Asian & Pacific Islander American Health Forum Through Action (HTA), a $16.5 million, four-year W.K. Kellogg serving as the national advocacy partner and technical assis- Foundation supported initiative to reduce disparities and tance hub. advance healthy outcomes for Asian American, Native Hawai- Each of the HTA partners listed below have made mean- ian, and Pacific Islander (AA and NHPI) children and families. ingful inroads towards strengthening local community capacity A core HTA strategy is the Community Partnerships Grant to address disparities facing AA and NHPIs, as well as sparked Program, a multi-year national grant program designed to a broader national movement for AA and NHPI health. The strengthen and bolster community approaches to improv- voices of HTA partners – their many accomplishments, moving ing the health of vulnerable AA and NHPIs. Ultimately, seven stories, and rich lessons learned from their experience – serve AA and NHPI collaboratives and 11 anchor organizations in 15 as the basis of our evaluation. National Advocacy Partner HTA Organizational Partners Asian & Pacific Islander American Health Forum – West Michigan Asian American Association – Asian Pacific American Network of Oregon HTA Regional -
The Devolution of the Shepherd Trumpet and Its Seminal
Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. -
The Evolution of the Bugle
2 r e The evolution t p a h C of the bugle by Scooter Pirtle L Introduction activity ponders how it will adapt itself to the ceremonies, magical rites, circumcisions, When one thinks of the evolution of the future, it may prove beneficial to review the burials and sunset ceremonies -- to ensure bugle used by drum and bugle corps, a manner by which similar ensembles that the disappearing sun would return. timeline beginning in the early 20th Century addressed their futures over a century ago. Women were sometimes excluded from might come to mind. any contact with the instrument. In some While the American competitive drum and A very brief history of the Amazon tribes, any woman who even glanced bugle corps activity technically began with trumpet and bugle at a trumpet was killed. 2 Trumpets such as the American Legion following the First through the 18th Century these can still be found in the primitive World War (1914-1918), many innovations cultures of New Guinea and northwest Brazil, had already occurred that would guide the L Ancient rituals as well as in the form of the Australian evolution of the bugle to the present day and Early trumpets bear little resemblance to didjeridu.” 3 beyond. trumpets and bugles used today. They were Throughout ancient civilization, the color Presented in this chapter is a narrative on straight instruments with no mouthpiece and red was associated with early trumpets. This important events in the evolution of the no flaring bell. Used as megaphones instead could probably be explained by the presence bugle. -
006-013, Chapter 1
trumpeteers or buglers, were never called bandsmen. They had the military rank, uniform and insignia of a fifer, a drummer, a d trumpeteer or a bugler. d Collectively, they could be called the fifes l l & drums, the trumpets & drums, the drum & bugle corps, the corps of drums, the drum e e corps, or they could be referred to simply as i the drums in regiments of foot or the i trumpets in mounted units. f f Since the 19th century, the United States military has termed these soldier musicians e the “Field Music.” This was to distinguish e them from the non-combatant professional l l musicians of the Band of Music. The Field Music’s primary purpose was t t one of communication and command, t whether on the battlefield, in camp, in t garrison or on the march. To honor the combat importance of the Field Music, or a a drum corps, many armies would place their regimental insignia and battle honors on the b drums, drum banners and sashes of their b drum majors. The roots of martial field music go back to ancient times. The Greeks were known to e have used long, straight trumpets for calling e Chapter 1 commands (Fig. 1) and groups of flute players by Ronald Da Silva when marching into battle. h h The Romans (Fig. 2 -- note the soldier When one sees a field performance by a with cornu or buccina horn) used various t t modern drum and bugle corps, even a unit as metal horns for different commands and military as the United States Marine Drum & duties. -
Drum Languages and Their Messages Redacted for Privacy Abstract Approved
AN ABSTRACT OF THE THESIS OF Susan E. Jewett for the degree of Master of Arts in Interdisciplinary Studies: Anthropology, English and Education Presented on June 9, 1977 Title: Drum Languages and Their Messages Redacted for privacy Abstract Approved:. 6/- With over 800 languages spoken on the continent of Africa, inter-cultural communication has always been dif- ficult. In addition, many of the peoples of Africa have experienced colonial oppression. Various powers have sought to interfere with intra-cultural dialogues and the free flow of information. Their effectiveness, however, was limited because of the talking drums. These drums are speech surrogates. Messages are relayed on them in a codal form. This form is based on the tonal language of the specific speech community. The premise of this paper is that the form is a. language. The language is poetic in style, but restric- tive in nature. It can be analyzed and components of various speech events can be investigated. With this information, one can better understand how aspeech com- munity categorizes its experiences. DRUM LANGUAGES AND THEIR MESSAGES by Susan E. Jewett A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Completed June 9, 1977 Commencement June 1978 ii APPROVED: Redacted for privacy AssocWe Professor of Anthropology Redacted for privacy) Chairperson of Department /W Anthropology Redacted for privacy Dean of Graduate School Date thesis is presented: June 9, 1977 Typed by Delores Rooney for: Susan E. Jewett ACKNOWLEDGEMENTS I'd like to personally thank John Dunn, Richard Daniels, Ed Anderson, Ray Verzasconi and numerous friends and acquaintances for sup- porting me on this endeavor. -
Lancini Jen-Hao Cheng [email protected]
Lancini Jen-hao Cheng [email protected] Ens.hist.teor.arte Afiliación institucional Investigador Independiente Lancini Jen-hao Cheng, “Native Terminology and Classification of Taiwanese Musical Instruments”, Lancini Jen-hao Cheng, nacido en Ensayos. Historia y teoría del arte, Bogotá, D. C., Taiwan finalizó sus estudios de PhD en Universidad Nacional de Colombia, Vol. XIX, el Department of Music, University of No. 28 (enero-junio 2015), pp. 65-139. Otago de Nueva Zelanda en Agosto de 2015. Obtuvo también el grado M.Litt. en ABSTRACT Ethnología y Folklore en el Elphinstone This study aims to be a comprehensive investigation into Institute, University of Aberdeen, Escocia, the native terminology and classification of Taiwanese aboriginal musical instruments based on ethnographic Reino Unido. Además, se ha desempeñado fieldwork. Its main result is new information concerning por espacio de catorce años como profesor indigenous instruments and taxonomic schemes and above de música y artes y humanidades en su all the discovery of many unknown musical instruments país. Sus principales intereses investigativos from different aboriginal groups (Bunun, Kavalan, Pazih- son la etnomusicología y la organología Kahabu, Puyuma, Rukai, Sakizaya, Siraya and Tsou). Concluding, many factors influence Taiwanese native así como la exploración de contextos classifications of musical instruments and they include interpretativos en la música tradicional. linguistic factors, playing techniques, materials used in their construction, performance contexts, as well as gender, social status and religion. Key Words Taiwan, Classification, Native terminology, musical instruments TÍtulo Terminología local y clasificación de los instrumentos musicales de Taiwan RESUMEN Este estudio intenta ser una investigación exhaustiva de la terminología y sistemas de clasificación de los instrumentos musicales de los aborígenes de Taiwan con base en trabajo etnográfico de campo. -
Cook Islands Identity Through Staged Performances
Dance encounters Exploring Cook Islands identity through staged performances. Camilla Aasmundsen Jensen Thesis submitted in partial fulfilment of the M.A. degree, Department of Social Anthropology, University of Bergen, December 2012 Cover photo: Blondie’s Photography 2011, with the permission from Director and photographer, Regina Potini. ii Contents Acknowledgements .................................................................................................................... v List of illustrations ................................................................................................................... vii Prologue ..................................................................................................................................... 1 Chapter one: ‘Dancing is who I am’- an invitation .................................................................... 5 Theme ..................................................................................................................................... 6 Contexts .................................................................................................................................. 8 Anthropology and dance ......................................................................................................... 9 Understanding dance ......................................................................................................... 11 Theoretical framework ........................................................................................................ -
Rcs Brief List
RCS BRIEF LIST ROYAL CONSERVATOIRE OF SCOTLAND BRIEF LIST OF THE HISTORIC MUSICAL INSTRUMENT COLLECTION Including the John Webb Collection Contents Instruments of Regional Cultures Plucked and Hammered string instruments Bowed String Instruments Flageolets and Recorders Transverse Flutes Oboes Bassoons Clarinets Miscellaneous woodwind-related items French Horns Bugles, Flugelhorns, Serpents and Ophicleides Post horns, Cornets and Ballad Horns Althorns, Tenor Horns and Baritones Euphoniums and Tubas Trumpets Trombones Small Mouthpieces for Brasswind Large Mouthpieces for Brasswind Miscellaneous brasswind-related items Keyboard and Miscellaneous Instruments Return to Contents Instruments of Regional Cultures (50) Duct flute; bamboo, 5 finger-holes. (48) Flute, dark stained bamboo; decorated. Probably China. (44) Suona [shawm], double reed attached by string. Possibly China. (555) Small buchel or alphorn. Possibly Switzerland, early or mid 20th century. (557) Birch bark horn. Jarkko Aallonloiske, Turku, Finland, 1992. (558) Tuohitorvi. Jarkko Aallonloiske, Turku, Finland, 1991. (34) Gunibri [bow harp]. Africa. (6) Tambur, 4 strings. India. (33) Saz, 4 strings. (30) Bow harp, 8 strings. (25) Tambura, 5 strings. India. (71) Xylophone, 15 bars. Central Africa. (67) Lamellaphone. (72) Barrel drum. Probably India. (73) Drum, 2 heads. Probably India. RCS Historic Instrument Collections.html[29/03/2016 15:47:45] RCS BRIEF LIST (78) Drum, 1 head. Probably India. (75) Tall drum, single head. Central Africa. (74) Barrel drum, 2 heads. India. (59) Wooden club with pointed head, said to be a drum beater. (57) Wooden club, said to be a drum beater [not seen]. Return to Contents Plucked and Hammered string instruments (7) Aeolian harp. T. Prowse, London, c 1800. (18) British Lute, 16 strings.