DOCSLIB.ORG

Historic Ladies of Tuba Euphonium

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Historic Ladies of Tuba Euphonium American Women in Tuba and Euphonium: 19th Century Educa;on and Separate Spheres All female Chamber Ensembles, Orchestras, Wind and Brass Bands Begin With the founding of American colleges and universi;es came the opportunity for music training here at home, as opposed to Europe, which had been the standard. As women graduated, and finding no place which would allow them to audi;on, they began to form their own groups. Family Bands were a popular draw, and the vaudeville touring circuit began. Family Bands Oberlin Become College Popular Founded 1880s Accepts Helen students of May all races Butler 1835 Ladies Military Band 1891 Harvard (1636) Yale (1701) Princeton (1746) Colombia (1754) 1870 1900 Penn State (1755) Boston FadeKe Ladies Orchestra Cheyney University Boston’s New England 6,063 concerts, 550,000 Founded, first of the Conservatory of Music has 1097 miles toured, over 600 historically black female and 317 male students women earned more than colleges and enrolled, though it reserved its a half million in salary. universi;es scholarships for men 5 different women play 1837 1868 tuba with the group 1888 Oberlin, Cincinna;, Boston, and New Rounds Imperial Ladies Band, New York, c. 1900 England Conservatories Founded UNC Pembroke Founded as a Normal School for 1865-1867 Na;ve Americans enrolling men and women 1887 For more informa;on visit The Interna;onal Women’s Brass Conference hKps://www.myiwbc.org Dr. Joanna Ross Hersey, [email protected] American Women in Tuba and Euphonium: Early 20th Century Explora,on and Establishment Vaudeville, Women’s Orchestras and the Sounds of Jazz Women joined the professional workforce in greater numbers aOer the turn of the century working on the Vaudeville touring circuit and in the expansion of the American orchestral market. During WW1 many performed as entertainers, and aOer the war, Hollywood became the new center for professional music as radio and film took off. American Federa,on of Musicians forced to begin accep,ng women Fern Cashford Los Angeles 1904 (leO) Women’s and the Parisian Symphony Redheads (right) Orchestra 1930 (right) 1933 1900 1940 Cora Women gain Deva Ellsworth Youngblood the right to Tuba, HMB Band and Corson vote Various Brass Bands Featured na,onwide Na,onwide soloist with 1920 HMB Band, Tuba and Euphonium 1905 Edna White Trumpet Quartet 1914 Prairie View Co-Eds Jazz Band, 1940s For more informa,on visit The Interna,onal Women’s Brass Conference hYps://www.myiwbc.org Dr. Joanna Ross Hersey, [email protected] American Women in Tuba and Euphonium: Mid-20th Century WarEme and the Fight for Equality During the war years, women provided the soundtrack in military bands and in dance halls across the naEon, performing at a high level, though sEll in separate spheres. ARer the war opportuniEes became more limited, and the desire to create ensembles of mixed gender met with severe resistance. The Civil Rights Era and the eventual adopEon of screened audiEons paved the way for some movement forward, though the world of music performance remained off limits to many. Phil Spitalny's Hour of Charm Orchestra, 1940s Connie Weldon performs with the Boston Pops (1954), NC Symphony, Concertgebouw Women’s and Teaches at Army Band University of 404th Miami 1942-1944 (1960-1991) 1940 1970 Gloria Dungill tours All US Military with her branches begin family allowing women 1950s-1960s musicians service-wide for Sylvia the first Eme Greenstein since WW2 welcomes 1976 troop ships in NYC US Military Bands become open to women 1943-45 1942-1944 For more informaEon visit The InternaEonal Women’s Brass Conference h\ps://www.myiwbc.org Dr. Joanna Ross Hersey, [email protected] .
Load more

Recommended publications
  • Brass Teacherõs Guide
    Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips.
    [Show full text]
  • Baritones and Euphoniums*
    OpenStax-CNX module: m12650 1 Baritones and Euphoniums* Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 1.0 1 Introduction Baritones and euphoniums are aerophones in the brass family. They are closely related instruments, both fairly large and with a medium-low range. They are generally not considered orchestral instruments, but are an important part of the Western band tradition. 2 The Instruments Like other instruments in the brass family, baritones and euphoniums are played by buzzing the lips against a cup mouthpiece. The air then moves through the brass tubing and leaves through the bell at the other end of the instrument. The valves change the playing length of the instrument, making it possible to play several harmonic series that together allow the instrument to play any chromatic note in its range. For more on how brass instruments work, please see Wind Instruments: Some Basics, Standing Waves and Wind Instruments, and Harmonic Series.) Baritones and euphoniums are valved brass instruments that have a range similar to the slide trombone, higher than a tuba and about an octave below the trumpet. The valved tenor-range brass instruments are a slightly confusing group of instruments. They are usually held upright, with the bell pointing either straight up or up-and-forward, but they may also be shaped like a very large trumpet, held horizontally with the bell pointing forward. They may have three, four, or sometimes even ve valves. Baritone and euphonium are recognized in Britain as being two dierent instruments, but in the U.S.
    [Show full text]
  • Tutti Brassi
    Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge.
    [Show full text]
  • Yamaha 2018 Price List
    two thousand eighte2en 01 8 accessories retail price lis t effective date: July 1, 2018 TABLE OF CONTENTS BRASSWIND MOUTHPIECES 1-4 REEDS 17-21 TRUMPET 1 SOPRANO CLARINET 17 CORNET, SHORT SHANK 2 CLARINET 17 CORNET, LONG SHANK 2 ALTO CLARINET 17 FLUGELHORN 2 BASS CLARINET 18 ALTO 2 CONTRA CLARINET 18 HORN 2-3 SOPRANINO SAXOPHONE 18 MELLOPHONE 3 SOPRANO SAXOPHONE 18 TROMBONE, SMALL SHANK TENOR 3 ALTO SAXOPHONE 19 TROMBONE, LARGE SHANK TENOR 3 TENOR SAXOPHONE 19-20 BASS TROMBONE 4 BARITONE SAXOPHONE 20 EUPHONIUM 4 BASS SAXOPHONE 20 TUBA 4 DOUBLE REEDS 20-21 SILENT BRASS ™ & MUTES 5-6 WOODWIND ACCESSORIES 22-30 SILENT BRASS SYSTEMS 5 LIGATURES 21-23 SILENT BRASS MUTES 5 MOUTHPIECE CAPS 24-25 TRADITIONAL MUTES 5-6 NECKSTRAPS 25-26 INSTRUMENT OILS & LUBRICANTS 26 BRASSWIND ACCESSORIES 7-9 MAINTENANCE KITS 26 BRASS INSTRUMENT OILS & LUBRICANTS 7 POLISHES & POLISHING CLOTHS 27 BRASS INSTRUMENT MAINTENANCE KIT 7 CLEANING SWABS 27 POLISHES & POLISHING CLOTHS 7 MAINTENANCE SUPPLIES 27-28 BRASS INSTRUMENT BRUSHES & CLEANING TOOLS 8 LIP PLATE & MOUTHPIECE PATCHES 28 PREMIUM MICROFIBER BRASS SWABS 8 REED TRIMMERS & SHAPERS 29 MISCELLANEOUS BRASS INSTRUMENT ACCESSORIES 9 REED CASES & STORAGE 29 BRASS INSTRUMENT LYRES 9 MISCELLANEOUS WOODWIND ACCESSORIES 29 INSTRUMENT LYRES 30 BRASSWIND CASES 10 WOODWIND CASES 31 WOODWIND MOUTHPIECES 11-16 PICCOLO CLARINET 11 RECORDERS & PIANICAS 32-33 SOPRANO CLARINET 11 PIANICAS 32 CLARINET 11-12 20 SERIES PLASTIC RECORDERS 32 ALTO CLARINET 12 300 SERIES PLASTIC RECORDERS 32 BASS CLARINET 12 400 SERIES PLANT-BASED
    [Show full text]
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • September 2007 Published by the American Recorder Society, Vol
    september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering.
    [Show full text]
  • Mouthpiece Catalog
    14 A CUP DIAMETER RIM CONTOUR CUP VOLUME 4 a BACKBORE Model mm inches Description A small cup diameter with shallow “A” cup 5A4 15.84 .624 and semi-flat rim offers comfort and resistance in the upper register. A shallow “A” cup with cushion #4 rim for 6A4a 15.99 .630 extreme high register work. Excellent for the player with thin lips. A #4 rim 7B4 16.08 .633 provides good endurance with a brilliant tone. The slightly funnel-shaped cup at the entrance 8A4 16.25 .640 to the throat provides a good tone and the #4 semi-flat rim gives superior endurance. The deep funnel-shaped cup provides 8E2 16.15 .636 a smooth tone and is very flexible in all registers. Recommended for cornet players. Standard characteristics allow for a full 9 16.33 .643 penetrating tone quality. Like the 9, however the #4 semi-flat rim 9C4 16.36 .644 provides excellent endurance. The combination of the shallow “A” cup, semi- 10A4a 16.43 .647 flat #4 rim and tight “a” backbore assists with upper register work. Same as the 10A4a but with a standard “c” 10A4 16.43 .647 backbore, which offers less resistance. A medium-small funnel-shaped “B” cup offers 10B4 16.43 .647 both a quality sound and support in the upper register. This rim size and contour is similar to the 11 11A 16.51 .650 but with a shallower “A” cup. This model was developed for the Schilke piccolo trumpets. The “x” backbore improves the 11Ax 16.51 .650 ease of playing and opens up the sound on the piccolo.
    [Show full text]
  • FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University Collection 18 Plans and Books'
    Elena Dal Coriivo No. 43 April 1986 FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University collection 18 Plans and books'. S.A.M.I., Paris 20 Plan! Eerens tr aver so 23 Plan! Vienna quint bass recorder The Harley Foundation, Welbeck 24 COMMUNICATIONS 688- REVIEWS! The Sound of the Fortepiano! A Discography, by A. Basardj 695 Musical Instruments Through The Ages, ed M. Hamber & L. Stanners^ Music for Oboe 1650-1800, by B. Haynes? ...Maultrommel..,2, ed. F. Crane*, A Treatise...violin playing, by L. Mozart, trans. E. Knocker (paperback reissue)! Un Musee Aujourd'hui (exhibition cat.)! The Art of Fingering the Harpsichord, by N. Pasquali (facs. of 1757 print)? Musical and Poetical Relicks of the Welsh Bards, by E. Jones (facs. of 1784 print) J. Montagu 26 726 Changes at Prague G. Lyndon-Jones 16 696 Review! Piano i Norge, by P A Kjeldsberg O. Aanstad 34 697 New Grove DoMI! JM no. 4! further detailed comments J. Montagu 35 698 New Grove DoMI! ES no. 4! Ca to Ci entries E. Segerman 39 699 Are computers anything for us? C. Karp 46 700 (Computer Comms) M. Lyndon-Jones 52 701 On computers, typewriters etc. M. Champollion 53 702 (Non-keyboard baroque temperament) B. Haynes 56 703 A matter of temperament M. Hodgson 69 704 The proportional compass R. Gug 71 705 A simple and cheap hygrometer T. Bergstrrim 87 706 Digital and other calipers B. van Leeuwen 88 707 Modification and sharpening of twist drills B. van Leeuwen 89 708 De humidifiers H.Hope 89 709 ...Chitarra battente H.Hope 90 710 Vihuela H.Hope 90 711 An experimental method N.
    [Show full text]
  • What Hetman Do I Need?
    What Hetman Do I Need? French Horn Trumpet Trombone Tuba Euphonium Baritone #1 Light Piston Schmidt-wrap piston valves* piston valves* piston valves* piston valves* piston valves with little wear horns* #2 Piston Schmidt-wrap piston valves piston valves piston valves piston valves piston valves with some wear horns #3 Classic Piston Schmidt-wrap piston valves piston valves piston valves piston valves piston valves with significant wear horns #4 Light Slide Oil 1st and 3rd slides with little wear valve slide #5 Slide Oil 1st and 3rd slides with some wear valve slide #6 Heavy Slide Oil 1st and 3rd slides with significant wear valve slide #6.5 Light Slide Gel tuning slides tuning slides tuning slides tuning slides tuning slides tuning slides slides with little wear #7 Slide Gel tuning slides tuning slides tuning slides tuning slides tuning slides tuning slides slides with some wear #8 Premium Slide Grease tuning slides tuning slides tuning slides tuning slides tuning slides tuning slides slides with significant wear #9 Ultra Slide Grease vintage horns with corroded slide tuning slides tuning slides tuning slides tuning slides tuning slides tuning slides tubes that might split or crack * #1 can be used instead of #11 or #12 in brand-new rotary valves with extremely tight clearances. French Horn Trumpet Trombone Tuba Euphonium Baritone #11 Light Rotor Oil rotary valves rotary valves rotary valves rotary valves rotary valves with little wear #12 Rotor Oil rotary valves rotary valves rotary valves rotary valves rotary valves with some wear #13
    [Show full text]
  • A Historical Overview of the Development of Collegiate and Professional Tuba Euphonium Ensembles in the United States Christopher Lair
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 A Historical Overview of the Development of Collegiate and Professional Tuba Euphonium Ensembles in the United States Christopher Lair Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A HISTORICAL OVERVIEW OF THE DEVELOPMENT OF COLLEGIATE AND PROFESSIONAL TUBA EUPHONIUM ENSEMBLES IN THE UNITED STATES By CHRISTOPHER LAIR A Treatise su mitted to the College of Music in partial fulfillment of the requirements for the degree Doctor of Music Degree A,arded- Spring Semester. 2010 The mem ers of the committee appro2e the treatise of Christopher Lair defended on Octo er 23. 2003. __________________________________ 6ohn Dre, Professor Co7Directing Treatise __________________________________ Paul E ers Professor Co7Directing Treatise __________________________________ Charles Bre,er Uni2ersity Representati2e __________________________________ Eric Ohlsson Committee Mem er The Graduate School has 2erified and appro2ed the a o2e7named committee mem ers. ii AC8NOWLEDGEMENTS During the preparation of this document. I recei2ed assistance from a 2ariety of generous indi2iduals and organi9ations. I am deeply inde ted to all of them. I ,ould li:e to offer my than:s to professors R. Winston Morris. Scott Watson. 6erry Young. Har2ey Phillips. 6ohn Ste2ens. 6oe S:illen. Demondrae Thurman. and S:ip Gray. ,ho generously donated their time and expertise for inter2ie,s. Special than:s to R. Winston Morris for pro2iding decades of recital and concert programs. and for a ,ealth of in2alua le information in a 2ariety of forms. I ,ould li:e to offer my gratitude to The Florida State Uni2ersity and to my doctoral committee.
    [Show full text]
  • Euphonium, Baritone, Or ??? by David Werden (From
    Euphonium, Baritone, or ??? by David Werden (from www.dwerden.com) When I was in high school, my parents decided to buy a new instrument for me to replace the student model I had been using. The music store showed me a top of the line King 3-valve "baritone." The salesman said it was a fine instrument, but if I was a serious player, I should spend another $80. For the extra money I would get not a mere baritone, but a genuine ***E*U*P*H*O*N*I*U*M***. When I asked what the difference was he explained that a baritone has three valves, while a euphonium has four. He also told me that a euphonium has a different bore, and sounds nicer that a baritone. I ordered the more expensive instrument. As the years passed, I learned that the only difference between those two horns was the extra valve. The salesman wasn’t trying to mislead me--he was simply as confused as most people about the difference between a baritone and a euphonium. Over the years I have heard many incorrect explanations of this difference. Some are: a euphonium has four valves, a baritone three; if it’s in a bass clef it’s a euphonium, if it’s in treble clef it’s a baritone; a baritone is little euphonium; a baritone has the bell pointed forward, a euphonium points up; and (attributed to Robert King) a euphonium is a baritone played well. This confusion of names may contribute to the somewhat anonymous nature of my chosen instrument.
    [Show full text]
  • Sound Sets in Sibelius 2
    Sound sets in Sibelius 2 For advanced users only! Before attempting to create your own sound set, it is worth checking if one is already available: see the online Help Center at http://www.sibelius.com/helpcenter/resources/ for the latest additions. Disclaimer Sound sets are complex files and are not designed to be user-editable. Using a sound set with incorrect syntax may cause your copy of Sibelius to behave unpredictably or even crash. Sibelius Software accepts no responsibility for any loss of data or other problems experienced as a result of editing the supplied sound sets or creating new ones. This document is provided ‘as is’, and no warranty, implied or otherwise, covers the information contained within. Please also note that we do not offer technical support on the editing or creation of sound set files. Filenames The filename of a sound set file is insignificant (i.e. it is not shown in the Play Z Devices dialog), but we recommend that it should be fairly descriptive. It should also be 31 characters or less (including the .txt file extension) to ensure compatibility with all file systems. Sound set syntax Please refer to the General MIDI.txt file inside C:\Program Files\Sibelius Software\Sibelius 2\Sounds for an example of correct sound set syntax. In fact, you may wish to copy this file and use it as the basis of your own sound set. The sound set starts with an open brace { and ends with a closing brace }. The body of the sound set contains the following fields within the opening and closing braces as a series of ‘tree nodes’, in this order: MIDIDevice Syntax: MIDIDevice "GM (General MIDI)" The name of the device, e.g.
    [Show full text]