Contains 17 contributions from the 1995 symposium consisting of scholarly papers and study sessions, the former presented in their entirety and the latter merely summarized. Topics include instrumental music at the German-speaking Renaissance courts, the invention of the slide principle and the earliest trombone, early brass mythology, the horn in early America, the influence of technology on the theory of orchestration, and the horn function and brass instrument character. Annotation copyrighted by Book News, Inc., Portland, OR

Les journées de cuivres anciens (Early Brass Days), the Historic Brass Society conference at the Cité de la Musique in Paris, attracted performers, scholars, educators, and students of early brass from various parts of Europe and the United States. Brass Scholarship in Review provides a record of the scholarly side of the conference, including reports on roundtable discussions as well as individual papers from leading authorities on early brass. Articles cover a wide range of interests, from the historical to the technical, from the Renaissance to the twentieth century. There are articles on such diverse topics as early hunting horn signals, trumpeters in Renaissance Parma, early recordings, trumpet acoustics, and the characteristics of metals used in early instrument manufacture. The volume is particularly rich in nineteenth-century topics, including ground-breaking work on Adolph Sax as leader of the banda of the Paris Opéra and recent discoveries relating to the Gautrot firm of instrument makers.

In the first major book devoted to the trumpet in more than two decades, John Wallace and Alexander McGrattan trace the surprising evolution and colorful performance history of one of the world's oldest instruments. They chart the introduction of the trumpet and its family into art music, and its rise to prominence as a solo instrument, from the Baroque "golden age," through the advent of valved brass instruments in the nineteenth century, and the trumpet's renaissance in the jazz age. The authors offer abundant insights into the trumpet's repertoire, with detailed analyses of works by Haydn, Handel, and Bach, and fresh material on the importance of jazz and influential jazz trumpeters for the reemergence of the trumpet as a solo instrument in classical music today. Wallace and McGrattan draw on deep research, lifetimes of experience in performing and teaching the trumpet in its various forms, and numerous interviews to illuminate the trumpet's history, music, and players. Copiously illustrated with photographs, facsimiles, and music examples throughout, The Trumpet will enlighten and fascinate all performers and enthusiasts [Publisher description].

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. Paperback.

This is the first comprehensive study of the trombone in English. It covers the instrument, its repertoire, the way it has been played, and the social, cultural, and aesthetic contexts within which it has developed. The book explores the origins of the instrument, its invention in the fifteenth century, and its story up to modern times, also revealing hidden aspects of the trombone in different eras and countries. The book looks not only at the trombone within classical music but also at its place in jazz, popular music, popular religion, and light music. Trevor Herbert examines each century of the trombone's development and details the fundamental impact of jazz on the modern trombone. By the late twentieth century, he shows, jazz techniques had filtered into the performance idioms of almost all styles of music and transformed ideas about virtuosity and lyricism in trombone playing.

Performance practice is the study of how music was performed over the centuries, both by its originators (the composers and performers who introduced the works) and, later, by revivalists. This first of its kind Dictionary offers entries on composers, musiciansperformers, technical terms, performance centers, musical instruments, and genres, all aimed at elucidating issues in performance practice. This A-Z guide will help students, scholars, and listeners understand how musical works were originally performed and subsequently changed over the centuries. Compiled by a leading scholar in the field, this work will serve as both a point-of-entry for beginners as well as a roadmap for advanced scholarship in the field.

The first in-depth study of the ceremonial and music performed at British royal and state funerals over the past 400 years.

A chronicle of the historically rich spiritual gatherings so vital to rural African American life Camp meetings—also called revivals—originated with circuit-riding Methodist preachers who gathered congregations in open fields and town squares. However, the sermons had messages that were not always welcomed by mainstream Protestant churches in the colonial and antebellum South. With the help of white itinerant preachers, enslaved African Americans organized their own camp meetings in conjunction with the white revivals. These celebratory events were predominantly spiritual, with preaching, worship, and communion, but also offered a chance for family reunions. After the Civil War, independent African American congregations built on this antebellum heritage by establishing permanent camps that continue to welcome meetings today. In A Place to Worship, Minuette Floyd shares an intimate portrait of the culture, traditions, and long history of the camp meeting as one of the most vital institutions in the lives of rural African Americans in North and South Carolina. As a child Floyd attended camp meetings each year in North Carolina, and she renewed her interest in them as an adult. For the past eighteen years Floyd has travelled to campgrounds throughout the Carolinas, documenting the annual tradition through photographs and interviews. Floyd has sought to record not only a visual record of the places and practices of each, but also the rich and inspiring stories of the people who make them thrive.