The Musical Values of the Stage Band
Identifieur interne : 001B09 ( Istex/Corpus ); précédent : 001B08; suivant : 001B10The Musical Values of the Stage Band
Auteurs : Paul O. W. TannerSource :
- Music educators journal [ 0027-4321 ] ; 1965-NaN.
English descriptors
- Teeft :
- American broadcasting company, Annoying constrictions, Approach water music, Astute people, Band players, Best bands, Better dance bands, Better musicians, Brass section, Breathing deeplyeven, California music educators association meeting, Collective creativity, Concert band, Conversation breathing, Dance band, Dance band experience, Dance band experience instilled confidence, Dance music, Debussy demands, Deeper breathing aids, Different treatment, Emotional peaks, Entire performance, Fall right, First trombone player, Function changes, Good college, Good dance band albums, Good interpretation, Good jazz players today, Good music, Good sound, Good tone, Great deal, Great mystery, Great tendency, Great value, Heavier wagnerian works, High notes, High school bands, High schools, High standards, Important niche, Individual musicians, Individual parts, Interpretation doubts, Junior colleges, Less vibrato, Little blocks, Local record shop, Lopsided musicians, Main objective, Many kinds, Many name bands, Many others, Many players, Many record dates, Many schools, Many times, Mobile type, More kind, More literature, Music educators, Music faculty, Music instructors, Music teachers, Musical differences, Musical staff, Musical values, Necessary ingredient, Obvious problems, Orchestral works, Original glenn miller band, Other music, Other musics, Other organization, Outstanding player, Paramount theatres, Perfect intonation, Performance groups, Popular music, Same musician, Same tone, Same trombone, School bell rings, School dance bands, School stage band, Serious music, Short phrases, Smoother phrases, Solid feeling, Sousa march, Stage band, Stage band festival, Stage band field, Stage bands, Stage tendency, Standard music literature, Standard stage band adjudication sheets, Students need, Studio work, Symphonic field, Symphonic work, Syncopated phrases, Tastes change, Tone distortion, Twist music, Unison passages, Vibrato, Wind instruments, Young dance band players, Young musicians.
Url:
DOI: 10.2307/3390501
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ISTEX:2F7B2AF63F838FEF4D3EC674A0797B7651131289Le document en format XML
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W.</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><month>4-05</month><year>1965</year></pub-date><volume>51</volume><issue>5</issue><fpage>83</fpage><lpage>84</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>cover-date</meta-name><meta-value>April/May 1965</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> The Musical Values of the Stage Band by PAUL 0. W. TANNER * There are presently over 8, 000 stage bands in the United States, mostly in high schools and junior colleges. I am told by publishers and educators that this field is growing rapidly. I believe that many, many schools without stage bands now will soon feel the pressure to start them. Some music instructors who have recently started stage bands or who are about to, feel as though this type of music is a bit foreign to them. I would like to impress upon these educators that music is music; any kind of music can be played well or can be played poorly. A good sound is just that in any setting; a good tone is a good tone; good clean technique and tonguing are the same in every kind of music. I have been on the musical staff of the American Broadcasting Company for fifteen years and I am called upon to play all types of music. I may be required to play Tschaikowsky or Gabrieli in the morning, jazz in the afternoon, and opera that evening. I also play many record dates, television, and recording for movies. What I am attempting to point out is that it is the same musician, the same trombone, the same tone, and technique, playing all types of music. It is interesting to note that most of the studio work in Los Angeles is performed by players who have had dance band experience, whose careers have not been restricted to symphonic work. If you make your concert band or orchestra perform well musically, then the transition to dance band APRIL-MAY, NINETEEN SIXTY-FIVE playing is no great mystery. The old cliche "It's good enough for jazz" has disappeared long ago. Standard stage band adjudication sheets require that players be judged on tone, intonation, blend, balance, precision, dynamics, rhythm, and interpretation, as well as on arrangements and presentation. Judges or clinicians are asked to comment constructively on individual musicians and give suggestions for their improvement as well as improvement of the entire band's performance. Playing dance music is fun, this is true; but also, it can be educational, especially because of the exposure caused by having only one player on a part and the responsibility that goes with this. If you restrict your players' exposure to only one kind of music, they will be lopsided musicians. Approximately ninety-five percent of the music heard in this country is related to a form of jazz or popular music, yet we all know of the tremendous musical advantages to be gained from playing in the concert band and orchestra. There are those who insist that dance (or stage) band players perform in some other musical organization, and that the dance band should be used as a bonus for some of the better musicians who wish to apply themselves in this direction. Others will argue that it should have no strings or connections. Personally, I would much prefer to have the players involved in as many different kinds of performance groups as time allows, thus giving the students as wide a variety of experi- ences as possible. I do not believe that the dance band should be in competition with any other organization. Besides its musical differences, it is a very mobile type of unit that can be of great value to the school and the community. In a stage band festival that I judged recently, I had to choose the outstanding player on each instrument. These students were then offered scholarships to a good college, not just to play dance music, but because of the way they play their instruments generally. I happened to hear them playing dance music. If we accept the fact that good playing in one medium is good playing in all media then we can go on to the one real big difference, and that is, of course, interpretation of the music. I don't have to remind educated, musically astute people about differences in interpretation of other musics. In the concert band I know that you would not approach Handel's Water Music in the same way you would Copland's Rodeo or a Sousa march. In the orchestra most of Debussy demands an entirely different treatment from the heavier Wagnerian works or the 1812 Overture. My point is that music teachers are already accustomed to differences in interpretation and style; this is not something new to them. One could not say, "I just deal with orchestral works," because there are too many kinds of orchestral works. So why not become acquainted with one more kind of music? I adjudicated a stage band fes83 tival recently, and I think it might be of some value if I pass on the most obvious problems that I detected. The resolution of some of these problems can be worked out both in rehearsals of standard music literature and of jazz; some of the problems can be dealt with in one kind of literature, then carried over into the performance of another. First of all, these healthy young musicians don't seem to be taking advantage of their natural capacities-I'm referring now to breathing. Students have a tendency to neglect the all-important job of filling up their horns; a situation existing not just in the brass section, but also in the woodwinds. This is not a matter of volume, but rather a good full sound, a necessary ingredient for every kind of music, not just dance band playing. "Conversation breathing" simply will not suffice for playing wind instruments. Players must get into the habit of breathing deeplyeven for short phrases. The air control will be greatly improved, and the support for the high notes will help the sound and the precision in that register. Deeper breathing aids the flow of the music by partially doing away with little blocks of notes, thus making longer, smoother phrases. Good deep breathing also helps to relax the throat and do away with annoying constrictions. Vibrato is one of the more obvious problems. Vibrato should only be an embellishment of the sound, it should never "take over." The tendency in the past few years is to use less vibrato; in fact, a great deal of playing is done today with no vibrato at all. I do not feel that it is quite so important what kind of vibrato is used as long as it is controlled and in logical musical taste. In unison passages, I do not approve of vibrato at all since it is hard enough to perfect intonation without vibrato. In either ensemble playing or in section playing, I suggest that the players use vibrato if the lead does, that is, except for the lowest pitched instruments. It is my opinion that vibrato down too low often detracts from the solid feeling of low tones. a Players must learn to listen, to balance, and to blend their individual parts as those parts are supposed to be functioning at each moment. Players must be aware that this function changes constantly. Let me stress that there is a great tendency for young dance band players to overblow. Many times a soloist cannot be heard at all because the rest of the band is playing too loudly. The best bands are always in control of their dynamics and exert economy of volume. Bands should save their extremely loud playing for emotional peaks, and even then, should not venture into tone distortion. Another item that I must usually criticize is that many players tend to rush the tempo in syncopated phrases. I attempt to get the players to relax and split the beats right in the middle. However, if the note is to fall on the beat itself, let it fall right there, not ahead of the beat. Also, good jazz players today play triplets precisely and evenly. There is more and more literature being put on the market for school dance bands. What is more, this literature is constantly improving. For those instructors with interpretation doubts, may I suggest that this very literature has often been recorded by good professional bands and that these records are excellent as an aid to good interpretation. Don't be afraid to experiment in rehearsals, the better dance bands do all the time. In the symphonic field, there is the attitude that the player must strive to perform what he feels is the conductor's interpretation of the composer's work. In the stage band field, there is much more leeway, with room for individual and collective creativity. The stage bands are definitely here in our schools, their music has an important niche in our society. It should be our attitude to see to it that the performance of this music be approached with as high standards as any other music. The author has been on the music faculty at the University of California at Los Angeles since 1958. For 15 years he has been first trombone player at American Broadcasting Company and Paramount Theatres. In the past he played with many name bands including the original Glenn Miller band, Les Brown, and many others. One of the courses he teaches at UCLA is "The Development of Jazz." This article is taken from a lecture on the stage band given at the California Music Educators Association meeting, March 1964. The Stage Band: A Defense and an Answer by WALTER L. ANSLINGER * With the present-day trend of so-called "popular" music, composed of four guitars and "screechy" singing, students need some direction or at least a chance to experience the playing of good popular music. Many fine high school bands have young musicians who can perform beautifully on their instruments and enjoy playing serious music. Yet, when the school bell rings at 3:30, they hop down to the local record shop and buy an album by the Beatles. 84 While most music educators try to teach their students what good music is, we often fail to show them what is bad. Where will students learn about the good and bad popular music unless they are exposed through their training? When I formed my first high school stage band five years ago, my main objective was to give the students a taste of good popular music in an effort to sway them away from rock n' roll and twist music. It was heartening to see students' tastes change in two years from noise to decent popular music. Not only did they put down rock n' roll, but they also spent their money on good dance band albums when they bought records. In addition to improved taste in popular music, many other advantages grew out of the dance band. First of all, dance band experience instilled confidence in the individual musicians. These students discovered that they were individually responsible for a different MUSIC EDUCATORS JOURNAL </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Musical Values of the Stage Band</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The Musical Values of the Stage Band</title></titleInfo><name type="personal"><namePart type="given">Paul O. W.</namePart><namePart type="family">Tanner</namePart></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1965-NaN</dateIssued><copyrightDate encoding="w3cdtf">1965</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">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>1965</date><detail type="volume"><caption>vol.</caption><number>51</number></detail><detail type="issue"><caption>no.</caption><number>5</number></detail><extent unit="pages"><start>83</start><end>84</end></extent></part></relatedItem><identifier type="istex">2F7B2AF63F838FEF4D3EC674A0797B7651131289</identifier><identifier type="ark">ark:/67375/M70-WH9L6JDZ-9</identifier><identifier type="DOI">10.2307/3390501</identifier><identifier type="ArticleID">10.2307_3390501</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/2F7B2AF63F838FEF4D3EC674A0797B7651131289/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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