Twentieth Century Brass Soloists

Musical performance on brass instruments has blossomed in the 20th century because of technical improvements in horn making, a vastly increased literature, and an astonishing number of outstanding players. Louis Armstrong, Tommy Dorsey, and Doc Severinsen have become household names, and classical musicians such as Maurice Andre, Christian Lindberg, and Barry Tuckwell have pursued distinguished careers as soloists. Twentieth-Century Brass Soloists analyzes and celebrates nearly one hundred brass soloists who have performed and been recorded widely, and whose genius, technique, and style have combined to produce unforgettable moments in music.

Musical performance on brass instruments has blossomed in the 20th century because of technical improvements in horn making, a vastly increased literature, and an astonishing number of outstanding players. Louis Armstrong, Tommy Dorsey, and Doc Severinsen have become household names, and classical musicians such as Maurice Andre, Christian Lindberg, and Barry Tuckwell have pursued distinguished careers as soloists. Twentieth-Century Brass Soloists analyzes and celebrates nearly one hundred brass soloists who have performed and been recorded widely, and whose genius, technique, and style have combined to produce unforgettable moments in music.

The work of multiple scholars is combined in this single volume, bringing together in conversation the traditions of brass instrumentalism and jazz idiom. Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions, edited by Howard T. Weiner, features articles by some of the most distinguished jazz and brass scholars and performers in the world. The topics covered span continents and decades and bridge gaps that until now remained uncrossed. Two primary themes emerge throughout the book and enter into dialogue with each other: the contribution brass performers made to the evolution of jazz in the early 20th century, and the influence jazz and popular music idioms had on the evolution of brass performance. The 13 articles in this volume cover a range of topics from Italian jazz trumpet style to the origins of jazz improvisation to the role of brass in klezmer music. New Orleans becomes a focal point as the essays examine the work of many important musicians, including Louis Armstrong, Buddy Bolden, Bunk Johnson, King Oliver, James Reese Europe, and Newell 'Spiegle' Willcox. Included as well is an interview with two legends of jazz trumpet, William Fielder and Joe Wilder, and the renowned performer and teacher Jimmy Owens reveals his practice techniques. Many of the essays include bibliographies, discographies, and other reference information. The meeting of the Historic Brass Society and the Institute of Jazz Studies represents the first time scholars have gathered to bring these two fields into such comprehensive discussion with each other. Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions presents this historic conversation.

The first study of the performance practice, repertoire and context of the modern 'brass ensemble' in the musical world.

This Companion covers many diverse aspects of brass instruments and in such detail. It provides an overview of the history of brass instruments, and their technical and musical development. Although the greatest part of the volume is devoted to the western art music tradition, with chapters covering topics from the medieval to the contemporary periods, there are important contributions on the ancient world, non-western music, vernacular and popular traditions and the rise of jazz. Despite the breadth of its narrative, the book is rich in detail, with an extensive glossary and bibliography. The editors are two of the most respected names in the world of brass performance and scholarship, and the list of contributors includes the names of many of the world's most prestigious scholars and performers on brass instruments.

This study of brass chamber music in lyceum and chautauqua fills a lacuna in brass history. It explores the forgotten phenomenon of the many chamber brass ensembles that entertained millions of Americans from coast to coast from 1877 to 1939 and presents histories of sixty-one ensembles that performed music for brass trio, brass quartet, brass quintet, and brass sextet for lyceum and chautauqua audiences. The author also writes about the large repertoire of music for small brass ensembles that he discovered was published in America from 1875 through the 1920s. This First American Chamber Brass School is discussed in one of five overviews of the principal eras in brass chamber music history that form the most comprehensive history of brass chamber music written in fifty years. Hardbound.

This book is a collection of available information about the history and characteristics of the brass instruments manufactured or distributed extensively in this country in the twentieth century.--p. xi.

This book was originally published in 1998. For most of the nineteenth and the early part of the twentieth century, the brass band was a major feature of musical life in Britain. This book surveys the hundred years from 1836 in which bands flourished, examining their origins in the village bands of the nineteenth century, the culture of banding competitions that developed and the manner in which this fostered the growth and success of bands. Roy Newsome charts the impact of social and economic change on amateur bands during this period. The influence of classical music, in particular opera, on early band music is also examined. The latter part of the book looks in detail at the original music written for brass bands by composers such as Holst, Elgar and Bliss, as well as pieces written by prominent band leaders.