M I L I TA RY M U S I C . H I STO R Y O F W I ND - I NST R U M E NTA L BA ND S A . CO NTAI N I N G KETCH OF THE H I STORY AND V LO M T O F O - AI R M U SI I N I . S D E E P EN PEN C ANCI ENT TI M ES. T I STRU M T AND TH 2 . A I S I R R NC EN N EN E SU CCESSO S. H I T RY F THE R I S AND V L M T F M R Y 3 . S O O E DE E O P EN O O DE N M I LI TAR M U SI C. P E A . K A P Y J . ' I llustr d ate mm A uth e ntic R eprese ntations of A n c ie nt PVz nd an d Num e r ous E xa mples of A ncie n t M usic . A ND (30 BOOSEY , 2 R T STR T LO ND N w A D O . N N 95 , EGEN EE , , EW YO R K . Th e I llustratio ns o f Win d- I nstrume n ts o n th e n ine Plate s are take n fro m the ’ authe ntic spe cime ns in th e M use um o i I nstrume n ts attache d to th e R o yal n e r re f M us at ru e s. Co s vato i o ic, B ss l M an o n th e re te ur du M usée du e n me n o n n th e re se nt o r to M . Wh ti i g p w k ill , Di c ” o nse r a o re re ue st n e rm ss o n to a a m se o f th e fin e o e t o n o f an e nt C v t i , q i g p i i v il y lf c ll c i ci ns rume n s un e r his are u su e r s o n has re a e a state o f o m e te ne ss i t t , which d c f l p vi i ch d c pl ar to be o un e se e re he no t o n a e it re a at m se r e but a so h dly f d l wh , ly pl c d dily y vic , l a e me the e ne t o f his e e e r e n e and so un u me n and I ta e s g v b fi wid xp i c d j dg t, k thi o ppo rtunity ofte nde ring h im my since re st thanks. l k . r . B ai le has a o n e n me so me a ua e a stan e M . D J y ls ki dly giv v l bl ssi c So me o f th e M tar M ar e s and o e r mus a e e s I o a ne ro m th e ili y ch , th ic l pi c , bt i d f r m R o a L bra e s o f M un armsta t e r n and ro m th e r s M use u . y l i i ich , D d , B li , f B iti h ’ o me s a ua e o r s Fo r th e Dance So ngs I am in de bte d to H e rr Franz M . B h v l bl w k ’ ' ' ’ o n Altaeutsc/z e ieder and Gesc/z zc/z te rte: Tan es z n D eutsc/z lana an d fo r o me s o r a L , z , s hi t ic l ’ ' ' ’ ' ’ ’ notice s Co usse make r s Histoz re ae l lz arnz o nze an moy en age and Schle tte re r s Stud ien ' ' ’ ’ z r To name all th e ur Gesctzzc/z te o er f anz oszscnen M usjk have be e n my autho ritie s. o e r so ur e s ro m I a e ra n o u ne e ss a e a o rm a e s fo r th c f which h v d w w ld c it t f id bl li t, r r a which I eg et to s y my space is to o limite d . " Fo r the co nve nie nce o f s u ents a s a e o f n s measure me n in n e s is t d , c l E gli h t ( i ch ) affi e to e a ate th e e o f th e e a e n o f e a ns rume n can be x d ch pl , by h lp which x ct l gth ch i t t o a n bt i e d . A . K . J . P AGE PART I I I . M I L I TA R Y M U SI C - N TR M E NT A ND A H I STO RY O F W I ND I S U AL B S . “ I N offering the following sketch of the rise and progress of Military Music , “ — or, more correctly expressed , of Wind Instrumental Bands , a few preliminary m remarks indicating its scope ay be acceptable . Hucbald There is certainlyno lack o f Musical Histories . From the t i me when endeavo ured to formulate some primitive rules according to which harmonic progressions should be written , down to our own era , every step in the evolution of the musical art has had its chronicler . We can trace minutely the progress of - R Church music , the rise of the Opera, from its first simple declamatory ecitative , “ ” “ ” r — down to the present complex form of Grand Ope a , from the ancient Suite ” — to the modern Symphonies , all is amply recorded . Yet , while historians revelled in descriptions of the grandeur of ecclesiastical compositions , of the music of the princely palaces or the royal playhouses , the music th e asse dbve r ff of people has been p with almost contemptuous indi erence , and it seems so sa - o r w ho as if they were , to y , ashamed t mention the poo cousin found inspiration ” in the open air, or went a soldiering . And yet it is an acknowledged fact that the rhy thm ic form of most of our o rchestral music of the highest class originated in th at class of music which struck r it m a its roots into the hearts of the uncultured people , and the flowe s of which , if y - be permitted to use the simile , were cross fertilized by the technical skill of the old c s . w e lassical compo ers Thus find , to mention but one instance , that the orchestral “ ” w ’ Suites of Sebastian Bach , hich were the precursors of the modern Symphonie , — c da nce m e a su res . onsisted mostly of , such as were in vogue at the time of his labours e ve rfre sh He took the popular form , as then existing , and dressed it in the colours of i h s cultured imagination . But from the paucity of records concerning the music of the masses arises a s e rious difficulty the trial to bring into a focus the different beams of light leads to m uch waste of labour . For little scraps of information one h as to grope through p onderous volumes of frequently most uninteresting matter ; for every relevant B A I A H I S TOR Y OF M I LI T R Y M US C. o n e t o s paragraph has read hundred of pages , and I confess that more than once I “ have been tempted to cry with P rince Henry : Oh monstrous but one halfpenny worth o fbread to this intolerable deal o f sack I have endeavoured (to express m yself metaph o rically) t o draw attention to th e . th e rise of a neglected little current which , while peacefully wandering through n s th e labyrinthi e ages of the past , gathered trength ; and , having at length entered o m o f s d main river , f rms no mean part of that ighty stream mu ical art , the profoun influence of which is felt in every phase Of modern society the m d o n e h as t o As subject is a so ewhat tangle , it appeared to me advisable the three fo llowing headings I - m o m s . Sketch of open air usic in lden ti e . 2 . Ancient in stru m ents and their su c ce ssors . i . 3 . Sketch of development of mil tary music — - P A I R I N LD . I . O EN MUSIC O EN TIMES to n o n e Whenever a nation advanced a certain degree of civilizatio , music was o f b e autifie d : the graces of life carefully cultivated . It the ceremonies of religion , it s h o .