Download e-book for iPad: Black Women in American Bands & Orchestras by D. Antoinette Handy

By D. Antoinette Handy

ISBN-10: 0585031614

ISBN-13: 9780585031613

ISBN-10: 0810834197

ISBN-13: 9780810834194

The 1st variation of Black girls in American Bands & Orchestras (a selection striking educational e-book in 1982) used to be lauded for delivering entry to fabric unavailable in the other resource. To replace and extend the 1st variation, convenient has revised the profiles of individuals featured within the first version, corrected omissions, and extra own and occupation proof for brand spanking new faces at the scene. Profiles are awarded lower than the headings of orchestras and orchestra leaders, string gamers, wind and percussion gamers, keyboard avid gamers, and non-playing orchestra/band associates. positive factors a hundred images.

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Extra info for Black Women in American Bands & Orchestras

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During the Civil War the Confederate Army continued to use slaves as fifers and drummers. Various black regiments were established in the Union Army, wherein many blacks earned the position of principal musician or chief bugler. The experience gained in the military, coupled with natural gifts and a love for music, resulted in the formation of "wind as nucleus" instrumental ensembles throughout the country in the postwar years. An all-Negro marching band led by Matt Black was noted in Philadelphia as early as 1818.

The Columbian, directed by Sylvester Thomas, and the Invincible, directed by Edward Ambler. In 1903 the twenty-two-piece Bloom Philharmonic Orchestra, organized by flutist Joseph Bloom and directed by clarinetist Luis Tio, gave four concerts in New Orleans. The Philadelphia Concert Orchestra, under the direction of E. Gilbert Anderson, was organized in 1905. Charles Sullivan founded the Victorian Concert Orchestra in Boston in 1906. The Orchestra Association of Philadelphia came into existence in 1907.

Received equal shares of the income from their concerts. Fortunately, all relied on other occupations for their living. . In their nadir season, . . each player netted eighteen dollars [Soblosky, American Music, pp. 87-88]. Said another, "[T]he New York Philharmonic [was] a band whose members played together more for the love of it than for any artistic results they achieved, or for any notable support they had from the public" (Howard, Our American Music, pp. 281-282). S. was taken over by Theodore Thomas, one "who combined the strongest qualities of the Cultured musician with some of the badges of eccentric luminescence" (Musselman, Music in the Cul- Page 3 tured Generation, p.

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Black Women in American Bands & Orchestras by D. Antoinette Handy


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