Drumming Up a Revolution
Identifieur interne : 000F29 ( Istex/Corpus ); précédent : 000F28; suivant : 000F30Drumming Up a Revolution
Auteurs : David SwanzySource :
- Music Educators Journal [ 0027-4321 ] ; 1968-10.
English descriptors
- Teeft :
Url:
DOI: 10.2307/3392321
Links to Exploration step
ISTEX:945CD5111C3710C6EB29D1BC1DAE56E69918B2F3Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Drumming Up a Revolution</title><author wicri:is="90%"><name sortKey="Swanzy, David" sort="Swanzy, David" uniqKey="Swanzy D" first="David" last="Swanzy">David Swanzy</name><affiliation><mods:affiliation>Professor of Music Education, Edinboro State College, Edinboro, Pennsylvania.</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:945CD5111C3710C6EB29D1BC1DAE56E69918B2F3</idno><date when="1968" year="1968">1968</date><idno type="doi">10.2307/3392321</idno><idno type="url">https://api.istex.fr/document/945CD5111C3710C6EB29D1BC1DAE56E69918B2F3/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000F29</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000F29</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Drumming Up a Revolution</title><author wicri:is="90%"><name sortKey="Swanzy, David" sort="Swanzy, David" uniqKey="Swanzy D" first="David" last="Swanzy">David Swanzy</name><affiliation><mods:affiliation>Professor of Music Education, Edinboro State College, Edinboro, Pennsylvania.</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Music Educators Journal</title><idno type="ISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1968-10">1968-10</date><biblScope unit="volume">55</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="54">54</biblScope><biblScope unit="page" to="56">56</biblScope></imprint><idno type="ISSN">0027-4321</idno></series><idno type="istex">945CD5111C3710C6EB29D1BC1DAE56E69918B2F3</idno><idno type="DOI">10.2307/3392321</idno><idno type="ArticleID">10.2307_3392321</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0027-4321</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Band music</term><term>Bernard sarrette</term><term>David swanzy</term><term>French revolution</term><term>Military music</term><term>National guard</term><term>National institute</term><term>Patriotic spirit</term><term>Revolutionary situation</term><term>Sarrette</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader></TEI><istex><corpusName>sage</corpusName><keywords><teeft><json:string>sarrette</json:string><json:string>national guard</json:string><json:string>french revolution</json:string><json:string>military music</json:string><json:string>david swanzy</json:string><json:string>band music</json:string><json:string>bernard sarrette</json:string><json:string>patriotic spirit</json:string><json:string>revolutionary situation</json:string><json:string>national institute</json:string></teeft></keywords><author><json:item><name>David Swanzy</name><affiliations><json:string>Professor of Music Education, Edinboro State College, Edinboro, Pennsylvania.</json:string></affiliations></json:item></author><articleId><json:string>10.2307_3392321</json:string></articleId><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><qualityIndicators><score>2.343</score><pdfVersion>1.5</pdfVersion><pdfPageSize>612 x 879 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractCharCount>0</abstractCharCount><pdfWordCount>1331</pdfWordCount><pdfCharCount>8403</pdfCharCount><pdfPageCount>3</pdfPageCount><abstractWordCount>1</abstractWordCount></qualityIndicators><title>Drumming Up a Revolution</title><genre><json:string>research-article</json:string></genre><host><title>Music Educators Journal</title><language><json:string>unknown</json:string></language><issn><json:string>0027-4321</json:string></issn><eissn><json:string>1945-0087</json:string></eissn><publisherId><json:string>MEJ</json:string></publisherId><volume>55</volume><issue>2</issue><pages><first>54</first><last>56</last></pages><genre><json:string>journal</json:string></genre></host><publicationDate>1968</publicationDate><copyrightDate>1968</copyrightDate><doi><json:string>10.2307/3392321</json:string></doi><id>945CD5111C3710C6EB29D1BC1DAE56E69918B2F3</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/945CD5111C3710C6EB29D1BC1DAE56E69918B2F3/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/945CD5111C3710C6EB29D1BC1DAE56E69918B2F3/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/945CD5111C3710C6EB29D1BC1DAE56E69918B2F3/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Drumming Up a Revolution</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><p>SAGE</p></availability><date>1968</date></publicationStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Drumming Up a Revolution</title><author xml:id="author-1"><persName><forename type="first">David</forename><surname>Swanzy</surname></persName><affiliation>Professor of Music Education, Edinboro State College, Edinboro, Pennsylvania.</affiliation></author></analytic><monogr><title level="j">Music Educators Journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1968-10"></date><biblScope unit="volume">55</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="54">54</biblScope><biblScope unit="page" to="56">56</biblScope></imprint></monogr><idno type="istex">945CD5111C3710C6EB29D1BC1DAE56E69918B2F3</idno><idno type="DOI">10.2307/3392321</idno><idno type="ArticleID">10.2307_3392321</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1968</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1968-10">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/945CD5111C3710C6EB29D1BC1DAE56E69918B2F3/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher><publisher-name>SAGE Publications</publisher-name><publisher-loc>Sage CA: Los Angeles, CA</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3392321</article-id><article-id pub-id-type="publisher-id">10.2307_3392321</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Drumming Up a Revolution</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Swanzy</surname><given-names>David</given-names></name><aff>Professor of Music Education, Edinboro State College, Edinboro, Pennsylvania.</aff></contrib></contrib-group><pub-date pub-type="ppub"><month>10</month><year>1968</year></pub-date><volume>55</volume><issue>2</issue><fpage>54</fpage><lpage>56</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Drumming Up a Revolution by David Swanzy • The history of music, especially that of the wind ensemble, shows that the predecessors of modern-day bands date back at least to the military uses of wind and percussion instruments during the Crusades. Although slow in attaining their present status as an acceptable means of artistic expression, they were consistently successful in their ability to serve the utilitarian purpose of instilling patriotic spirit and emotion. Single instruments and small wind ensembles served to stir emotions even before the fifteenth century, when military signals were sounded by musical instruments. Just as important at this time was the use of the trumpet to enliven the march to battle, a job the fife and drum inherited in the next century. Instrumental music also served to dignify formal ceremonies with fanfares and flourishes to announce the presence of nobility. The author is Professor of Music Education, Edinboro State College, Edinboro, Pennsylvania. One of the very important duties of “The King's Music” in England, starting with the reign of Henry VIII (1509-1547), was to add to the majesty of the great ceremonials. With the beginning of the French Revolution in 1789, band music was used in a most unique and functional manner. It was one man, Bernard Sarrette, who was solely responsible for the organization of a band used to stimulate patriotic spirit and devotion during the early years of the Revolution. He understood the revolutionary situation through his work in the administrative office of the French Guards and had an ingenious talent for organization. Because of his particular situation, Sarrette recognized the possibility of influencing the masses with music. Although he was not a musician, Sarrette was wise enough to seek out the best musicians in Paris, among them Gos-sec and Mehul, the leading French composers of the time. Bernard Sarrette was so convinced of the potential of a band at this time that he personally undertook the job of financing a group of forty-five musicians who were formerly of the French Guard but who had recently become unemployed with the establishment of the National Guard. The band's success was immediate, and Sar-rette's financial burden was soon relieved by the Commune of Paris, which not only paid the musicians a regular salary but also rented permanent quarters for them. This band, called the Music Corps of the National Guard, was increased in size to seventy instrumentalists, and was constantly before the public. An early mention of the band was a newspaper report of the procession of the Fete-Dieu on June 3, 1790: The holy sacrament was preceded by a big part of the national guard musicians and by many drums. The sounds of this military music, mixed with the songs of the church, formed a divine concert of the highest majesty.1 This was not merely military music in the traditional sense. The quality of the group's performances must have been outstanding, according to comments about a performance in the Chronique de Paris on January 23, 1792: Constant Pierre, B. Sarrette et les origines du Conservatorie National de Musique et de Declamation, (Paris: Li-brarie Delalain Freres, 1895), p. 20, translated by David Swanzy. Drumming Up 54 MUSIC EDUCATORS JOURNAL The merit of this performance can be evaluated easily when we think that the men who participated were probably the most talented instrumentalists in Europe. We profit from the circumstance and pay homage to the zeal that the music of the National Guard showed during the public fetes? A statement found in another article from the Chronique de Paris provides further proof of the band's importance in stirring the patriotic spirit of the revolutionists: The music of the National Guard deserves to be distinguished by the influence it has had over the Revolution. Lafayette stated several times that he owed more to the music of the National Guard than he did to bayonets. These musicians, in fact, participated in all of the public ceremonies and in many actions of the Revolution.3 Another source4 credits the “Marseillaise” with almost supernatural power. In the heat of battle, a young officer lost control of a group of inexperienced recruits and, as a last resort, raised his hat over his head with the tip of his bayonet and began singing lustily, Allons, 2Pierre, pp. 25-26. 3Julien Tiersot, Les fetes et les chants de la Revolution francaise (Paris: Ma-chette, 1908), pp. 66-67, translated by David Swanzy. 4J. G. Kastner, Manuel General de Mu-sique Militaire (Paris: n.n., 1848), pp. 166-168, translated by David Swanzy. enfants de la patrie, Le jour de gloire est arrive. They responded immediately to his courageous efforts, repeated his song with enthusiasm, and vigorously returned to battle. Although Sarrette and his musicians had become firmly established through the assistance of the municipal government, they were not content until a national music institute could be established. For this, they appealed to the National Convention, France's governing body during these revolutionary times and on November 8,1793, appeared before the Convention and performed an enthusiastic march. Sarrette was then allowed to speak in behalf of the musicians: The Music Corps of the National Guard, formed by the union of the finest artists in Europe, asks for the establishment of a national institute of music where, under the auspices of the Republic, the artists will be able to maintain and improve their knowledge. The artists who are so indispensable for the performances in our national holidays will be trained in this institute. There will be three or four hundred musicians placed in the heart of the Republic who will be sent to the fetes celebrated throughout the Republic, and they will bring character and energy there. The union of the artists of the National Guard, dominated by the principles of liberty and equality, performs all of its civic duties. They know how to cultivate their art and how to make it a respected part of the festivities. In a newly created national institute, we will not only participate in the festivities of the public holidays, but we will also perform magnificent public concerts. The results of this kind of institution will be invaluable because it will give choirs of young boys and girls the opportunity to adorn our plays and our celebrations, no less magnificent than the spectacles of Greece where music and poetry were majestic ornaments.5 Music was an indispensable part of the great number of French national festivals that celebrated various victories and holidays. One of the most important parts of these celebrations was the traditional procession, and a particularly vivid account0 of one placed a group of trumpeters at its head, followed by various military and political groups. A very important unit, the Car of Victory, preceded by the Band of the National Guard, followed at the end of the procession. The procession stopped before the Temple de VHumanite, the band played, and a high official spoke. “Pierre, p. 40. 6J. M. Thompson, The French Revolution (Oxford: Basil Blackwell, 1955), pp. 414-415. A Revolution 55 During the French Revolution, band music was used as a means of stimulating patriotic devotion. The illustration above depicts the spirit aroused by a band at a celebration called Ftes et Illumination on the Champs Elysees in Paris, July 18, 7790. The band is located on the three raised platforms, Finally, “cheered by the warlike music of the band and the triumphant chanting of the people,” the procession completed its journey. In addition to playing processional music, the Band of the National Guard also accompanied revolutionary hymns and songs, for nearly every phase of revolutionary faith and reform was expressed through songs and elaborate hymns. (Some 3,000 songs of a political nature were published between 1789 and 1800.) So that the masses of people could learn the songs, musicians often taught them in the streets, singing at the top of their voices. Even Gossec was expected to go out and teach revolutionary songs to the people. In public 56 theaters and opera houses, patriotic songs were performed during the course of a play or an opera, with the audience often joining in unison. As the festivals became increasingly frequent, and as the musicians enlarged their repertoire, music became a primary element in ceremonies. Sarrette had no trouble in supplementing his group with other musicians for special occasions, and several accounts mention the use of over a hundred instrumentalists. Although Sarrette provided an ever-ready means of gaining the people's attention with a musical organization that could also inflame patriotic spirit with its stirring music, it was left to musicians like Gossec and Mehul to add the artistic qualities to its already established functional uses. They did this in two ways. First, they composed music that not only served as emotional rousers but also became a medium for artistic expres- sion. Second, the need for more and better musicians to perform these works brought about the development of a music school that culminated, in 1795, with the establishment of the National Conservatory of Music. The school's purposes were clearly stated: to celebrate national festivals and to train pupils in all branches of musical art. The French Revolution, then, had become the setting for the fusion of the unrefined but stirring ceremonial uses of military music and the more artistically expressive aspects of “serious” music. The results of Sarrette's efforts, which undeniably were based in part on a desire to gain personally from the revolutionary situation, were strong and lasting, for the Conservatory remains intact today. The organizational development of the revolutionary performing groups was a giant stride toward one of the largest musical developments in modern history— the concert band. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Drumming Up a Revolution</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Drumming Up a Revolution</title></titleInfo><name type="personal"><namePart type="given">David</namePart><namePart type="family">Swanzy</namePart><affiliation>Professor of Music Education, Edinboro State College, Edinboro, Pennsylvania.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article"></genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1968-10</dateIssued><copyrightDate encoding="w3cdtf">1968</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1968</date><detail type="volume"><caption>vol.</caption><number>55</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>54</start><end>56</end></extent></part></relatedItem><identifier type="istex">945CD5111C3710C6EB29D1BC1DAE56E69918B2F3</identifier><identifier type="DOI">10.2307/3392321</identifier><identifier type="ArticleID">10.2307_3392321</identifier><recordInfo><recordContentSource>SAGE</recordContentSource></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Sarre/explor/MusicSarreV3/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000F29 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000F29 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Sarre
|area= MusicSarreV3
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:945CD5111C3710C6EB29D1BC1DAE56E69918B2F3
|texte= Drumming Up a Revolution
}}
| This area was generated with Dilib version V0.6.33. |  |