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| Concert band | |
|---|---|
| Name | Concert band |
| Background | instrumental ensemble |
| Origin | 19th century |
| Years active | since 19th century |
| Instruments | woodwinds, brass, percussion, sometimes piano, harmonica |
Concert band is a large wind ensemble primarily composed of woodwind, brass, and percussion instruments with occasional inclusion of piano, harpsichord, or string bass. It developed from 19th-century wind and military traditions tied to ensembles such as the British Army bands, the United States Marine Band, and municipal orchestras associated with figures like John Philip Sousa and institutions such as the Royal Military School of Music. The ensemble occupies roles in civic music, academic programs at institutions like the Juilliard School and Eastman School of Music, and professional organizations including the League of American Orchestras and the American Bandmasters Association.
The ensemble's roots trace to the brass and wind formations of the Napoleonic Wars, the parade bands of the British Empire, and the regimental bands attached to the United States Army. The late 19th century saw leaders such as John Philip Sousa and ensembles like the United States Marine Band popularize marches and public concerts, while European conservatories in cities like Vienna and Paris contributed transcriptions from the orchestral canon. The 20th century brought composers including Gustav Holst, Percy Grainger, Igor Stravinsky, Béla Bartók, and Paul Hindemith who expanded original works and adaptations, paralleled by institutionalization at universities such as University of Michigan and festivals like the Midwest Clinic. Postwar developments involved conductors and educators from Eastman School of Music and Carnegie Hall commissions, and commissioning bodies like the National Endowment for the Arts supported contemporary repertoire.
Typical scoring features woodwinds (piccolo, flutes, oboes, English horn, clarinets, bass clarinet, saxophones), brass (cornets, trumpets, horns, trombones, euphoniums, tubas), and percussion (timpani, snare drum, bass drum, mallet percussion). Ensembles often add double bass or string bass and keyboard instruments for color; chamber sections mirror formations found in conservatories such as the Curtis Institute of Music. Arrangements follow part-writing conventions established by publishers like Boosey & Hawkes and Presser. The principal chairs and section leaders organize seating akin to practices in Vienna Philharmonic seating traditions, while audition and hiring practices reference standards set by organizations including the American Bandmasters Association and competitions hosted by the All England Schools Orchestra and the Midwest Clinic.
Repertoire spans original works, transcriptions, marches, concertos, overtures, tone poems, jazz-influenced pieces, and film-score arrangements. Canonical wind works include compositions associated with Gustav Holst's wind oeuvre and commissions from composers such as Aaron Copland, Samuel Barber, Dmitri Shostakovich (transcriptions), Hector Berlioz (transcriptions), and Arnold Schoenberg adaptations. Light music and marches reference traditions from John Philip Sousa and repertory published by houses like Novello & Co. and G. Schirmer. Contemporary genres incorporate minimalist tendencies explored by composers associated with Bang on a Can and electroacoustic works premiered at festivals like the Gaudeamus Music Week and venues such as Lincoln Center.
Conductors draw from baton techniques codified by pedagogues from institutions such as the Royal Academy of Music and the Juilliard School. Score study often references editions from publishers including Oxford University Press and Schott Music; rehearsal planning employs methods developed by educators like Frederic Fennell and H. Robert Reynolds. Techniques for balance, intonation, and ensemble blend parallel chamber practices found at the Cleveland Institute of Music and orchestration cues from treatises by Nikolai Rimsky-Korsakov and Hector Berlioz. Rehearsals integrate sectional coaching, masterclasses by soloists from organizations such as the International Trumpet Guild and the Percussive Arts Society, and audition procedures modeled on conservatory juries at institutions like the Royal College of Music.
Concert bands serve as curricular ensembles in school systems, conservatories, and universities including Eastman School of Music, Indiana University Jacobs School of Music, and Yale School of Music. Community bands—municipal, veterans', and civic ensembles—trace lineage to organizations like the Rotary Club concert series and municipal bands in cities such as Boston, Chicago, and New Orleans. Youth ensembles and honor bands operate under auspices of state associations and national bodies such as the National Band Association and the American School Band Directors Association, while summer programs and workshops connect with festivals at Tanglewood and the Aspen Music Festival and School.
Performance contexts range from concert halls like Carnegie Hall and Royal Albert Hall to outdoor venues for civic ceremonies, parades, and commemorations associated with events such as Memorial Day services and national celebrations in capitals like Washington, D.C. and London. Traditions include programmed seasons, pops concerts featuring arrangements of works linked to George Gershwin, film-score nights spotlighting composers such as John Williams, and collaborations with guest soloists from orchestras like the New York Philharmonic and the London Symphony Orchestra. Recordings and broadcasts appear on labels and stations including BBC Radio and companies such as Decca Records, while competitions and conferences showcase ensembles at gatherings like the Midwest Clinic and the World Association for Symphonic Bands and Ensembles.
Category:Wind bands