scholarly journals Franz Joseph Haydn's writing for wind instruments and the evolution of the military band and orchestral wind section

2008 ◽  
Author(s):  
Jonathan Neiderhiser
1980 ◽  
Vol 11 (2) ◽  
pp. 227-245 ◽  
Author(s):  
Steven Rosenthal

Ever since it had been recognized that the decay of the Ottoman Empire could not be arrested by traditional methods, foreigners and non-Muslims had played a significant part in the Empire's modernization. The Compte de Bonneval and Baron de Tott were only the most famous of a group of foreign advisers who were employed by the Ottoman government to help reform the military establishment during the eighteenth century. During the Tanzimat era, 1839–1876, when the Porte became irrevocably committed to modernization, foreigners and non-Muslims were employed in a multitude of capacities. They ranged from the Prussian Von Moltke who was to advise on the vital problem of reorganizing the army, to Giuseppe Donnizetti, brother of the composer, who was charged with the somewhat less important task of organizing a Western-style military band.


2021 ◽  
Author(s):  
Oleg Cazacu ◽  

The military marching band is an imposing but also prestigious artistic present in the national and international musical landscape. Having a rich and old tradition, it continues to play an important role in the cultural life, asserting itself as a mechanism for promoting national and universal musical heritage and as an effective means of ethical and aesthetic education of the military and the general public. Often, famous works from the universal repertoire are more easily assimilated by the average spectator through fanfares. In this article, we will refer to some aspects of the history of the phenomenon. After 1990, with the postponement of the independence of the Republic of Moldova, military structures, internal affairs bodies, institutions for training specialists in the field, such as the Police Academy, etc. are created. As a result, military band orchestras are established and invigorated. One of them, which enjoys success and shows high professionalism, is the Band Orchestra of the General Inspectorate of Carabineers of the Ministry of Internal Affairs.


1921 ◽  
Vol II (1) ◽  
pp. 58-66
Author(s):  
GEORGE DYSON
Keyword(s):  

1920 ◽  
Vol 61 (934) ◽  
pp. 834
Author(s):  
John C. Somerville
Keyword(s):  

Author(s):  
Oleg Badalov

The purpose of the article is to study the activities of the military musician, conductor of the brass band of the Chernihiv Higher Military Aviation College of Pilots, one of the founders of the modern orchestral culture of the Chernihiv region, Major Gryhory Borysovych Kunkin (1927–2009) in the context of the development of military music of Chernihiv region, his contribution to the formation of regional cultural space of the second half of 20th century. The author examines the life of G. Kunkin against the background of the development of the military-musical performance of the Chernihiv region. The methodology is based on historical-chronological, source-study, logical-generalizing, and comparative methods for elucidating the chronology of the development of military musical art of Chernihiv region of the 20th century, the study of G. Kunkin's creative biography, and generalization of information about military conductors of Chernihiv region – his contemporaries, memoirs of G. Kunkin's colleagues, identification of factors influencing his work on the development of the cultural space of Chernihiv region. The scientific novelty of the publication lies in the first domestic musicology study of the life of G. Kunkin as one of the prominent figures of the military-musical culture of the Chernihiv region. Conclusions. The results of the study indicate that G. Kunkin during his career as a military conductor had a significant impact on the development of the military and musical culture of the Chernihiv region. With his activity he revived the regional military-musical life, outlined the main directions of its further development, which were realized in the works of military conductors of Chernihiv region at the beginning of the 21 century; G. Kunkin's concert activity of the military brass band popularized the brass art among the population of the region and, as a result, conditioned the social demand for learning to play wind instruments, intensifying the activity in this direction in art schools of Chernihiv region and music college named after L. Revytsky. The successful combination of musical experience, personal qualities, and organizational abilities allowed G. Kunkin to make a significant contribution to the potential of the spiritual culture of the Chernihiv region, which is worthily presented in Ukraine and abroad by military brass bands of the region.


2021 ◽  
Vol 7 (1) ◽  
pp. 46-53
Author(s):  
N.I. Anufrieva ◽  
◽  
V.N. Manuilov ◽  
◽  

the methodological principles of teaching a musician-performer to play wide-ranging wind instruments at the Military Institute (military conductors) of the Military University have features that depend on the conditions of training. The contingent of students is characterized by certain age characteristics, features of the level of basic music education, ethnic and cultural differences in the trained military personnel of foreign countries. The article describes some laws and mechanisms that ensure the possibility of achieving high levels of individual professional development during training in the game on wind instruments of trainees of a special group of military institute (military conductors) of the Military University, based on the academic method of training in the game on wind instruments, but actively adapted to a specific psychological and pedagogical situation.


Author(s):  
Lyombe S. Eko

This chapter analyzes the music of two military bands: Zangalewa of Cameroon and Zao of Congo-Brazzaville. Zangalewa is the marching band of the presidential guard in Cameroon. Part of its “Suffering Soldier's Medley,” a self-deprecating military entertainment piece, was actually a subtle politico-cultural parody, couched in jester's garb, that lampoons the brutal and oppressive Cameroon army. For its part, Zao is a “pseudo military” band, a civilian band that adopted a military persona and uses subtle satire couched in humor to critique the military and militarism. The author analyzes the politico-cultural contexts and lyrics of both bands within the framework of metaphorical couching, the embedment of messages in humor. Both bands couched criticism of the authorities in humor and African metaphors, sayings, and proverbs expressed in a mixture of English, French, pidgin, and African dialects to bypass censorious gatekeepers.


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