| Contents |
The orchestra begins. The instrumentation of Monteverdi's orchestra ; Gabrieli establishes the art of scoring ; Wieprecht adopts the valve ; The profile of the band emerges ; Brass music from church towers ; Handel's mass wind instrument effects ; Assisted by artillery! ; The clarinet comes into the orchestra at Mannheim ; Mozart and the wind instruments ; Color becomes important in scoring ; Mozart originates the wind ensemble ; Haydn becomes the first "employed" composer ; Haydn and Mozart ; Their prolific creative output -- The wind instruments: their rise in the music of Beethoven, Berlioz, and Wagner: the band begins. What did composers have against the trombone? ; Berlioz writes the first book on modern orchestration ; Berlioz' Fantastic Symphony ushers in the era of the wind instruments ; Orchestral music begins to tell a story ; The French revolution and its development of the band ; Boehm defeats numbers and perfects the flute ; The band music of Berlioz and Wagner ; Wagner's Bayreuth Orchestra ; The relation of Wagner's and Brahms' orchestra to Beethoven's ; Wagner's conducting, its influence upon the growth of orchestral sonority ; Wagner's orchestral music transcribed for the wind band -- A new kind of orchestra: a new kind of wind music: the music of Richard Strauss, Claude Debussy and Igor Stravinsky. Strauss and the Brussels Conservatory wind class ; He snubs the band ; Claude Debussy's French revolution ; Debussy's low opinion of Sousa and American music ; The Russian ballet ; The orchestra enters its final stage of development ; Stravinsky ; The Rite of Spring ; The Bayreuth Orchestra in a ballet pit ; Stravinsky abandons the large orchestra, turns to wind music ; Stravinsky's contribution to wind music ; Gustav Holst gives the band a cornerstone for its literature ; The British Army Band as the prototype for American bands -- The American professional concert band: Gilmore and Sousa. Sousa takes over Gilmore's work with the professional band ; Sousa ; Music for the feet, not for the head ; The professional band expires -- The great American instrumental renaissance: its background in the public schools, colleges, universities and schools of music. The background for public education in a new country ; Theodore Thomas brings the orchestra to the American people ; Will Earhart begins the high school orchestra ; Industry in music ; George Eastman founds a music school ; The origin of the school band contests ; Maddy organizes the national high school orchestra ; The founding of Interlochen ; The marching band begins at Illinois ; The outdoor band ; The educational concert band ; Harding's Illinois concert band -- The wind ensemble. The instrumentation of the wind ensemble ; The wind ensemble in education ; A broad musical repertory ; The wind ensemble in professional and community life. |
| Abstract |
This book had its origins in a series of ten lectures, The Development of the Orchestra, which were prepared and delivered to the service men and women who frequented the music room of the Fifth Avenue USO Club in San Diego, California, during my war-time stay in that important training area as National USO music advisor. In expanding those informal essays into this little book, which is concerned with the development of wind instruments and their use, it has been my desire to afford both the casual reader and the serious student of the orchestra and band with a single volume which might prove of interest. --Preface. |
| Bibliography note | Includes bibliographical footnotes and index. |
| LCCN | 54041511 |
