TEACHING AMERICAN CIVIL WAR MUSIC IDSTORY WITH MODERN EDITIONS OF PERIOD MUSIC FOR FULL CONCERT BAND

This dissertation explores a method of teaching the history of Civil War music and musicians through modern full-band editions of original brass band music. In the study of music history the period of the Civil War is rarely discussed, or at best, mentioned only if a student takes a specific course on the history of bands and happens to look deeply into the background of some of the early band pioneers such as Patrick Gilmore, who served in the Union Army as a bandmaster. The history of the musicians, bands, and music performed during the Civil War deserves study to provide a way for students and audiences to learn this history. This project includes lesson plans that can be used with the arrangements of the period music as well as select published music that is also representative of the period. Included with the historical information are four arrangements of original brass band music now scored for full concert band. Each arrangement includes a section scored for brass only with optional brass band parts. Historical information is provided on the Civil War period bands and how each side used them, on the composers of the music, and also on the individual compositions. The historical information can be used to supplement the lesson plans to teach the history, as well as for program notes for audiences. The research involved locating information on both Union and Confederate bands available in books, other dissertations, articles, and interviews with Civil War music historians. The original brass band music is scored for full band. This method will allow teachers and conductors to highlight this period of wind band history and to share it with both students and audiences. Included with this project are photos and video footage taken during a visit with the 1st Brigade Band of Watertown, Wisconsin, an historical organization dedicated to recreating the music and performances of an actual Civil War era band.

Distinguishing between similar tubular objects using pulse reflectometry: a study of trumpet and cornet leadpipes

Acoustic pulse reflectometry is used to reconstruct the internal bore profile of trumpet and cornet leadpipe. The method distinguishes between radii differences as small as 0.03 mm, and has since been used by various UK-based brass instrument manufacturers as a diagnostic tool to detect defects that are significant enough to acoustically alter performance.

Bandas de sopro – um diálogo transcultural

Brass bands are among the most widespread instrumental ensembles in the world, yet there has been little academic interest in them. This is because they stand in a space between art and authenticity, as their repertoires are thought to lack artistic merit while their military legacies have disconnected them from the ‘authentic’ music of ‘the people’. This paper aims to show how it is precisely this intermediary position which has attracted the attention of some (ethno)musicologists, and a growing number of studies demonstrate the analytic potential of this musical universe in a wide range of contexts across the globe.

Syzygy

Large-scale symphonic work in three movements for brass quintet and chamber orchestra for the Stockholm Chamber Brass and Swedish Chamber Orchestra, conducted by Paul Watkins

Progressive lung cancer determined by expression profiling and transcriptional regulation

Clinically, our ability to predict disease outcome for patients with early stage lung cancer is currently poor. To address this issue, tumour specimens were collected at surgery from non-small cell lung cancer (NSCLC) patients as part of the European Early Lung Cancer (EUELC) consortium. The patients were followed-up for three years post-surgery and patients who suffered progressive disease (PD, tumour recurrence, metastasis or a second primary) or remained disease-free (DF) during follow-up were identified. RNA from both tumour and adjacent-normal lung tissue was extracted from patients and subjected to microarray expression profiling. These samples included 36 adenocarcinomas and 23 squamous cell carcinomas from both PD and DF patients. The microarray data was subject to a series of systematic bioinformatics analyses at gene, network and transcription factor levels. The focus of these analyses was 2-fold: firstly to determine whether there were specific biomarkers capable of differentiating between PD and DF patients, and secondly, to identify molecular networks which may contribute to the progressive tumour phenotype. The experimental design and analyses performed permitted the clear differentiation between PD and DF patients using a set of biomarkers implicated in neuroendocrine signalling and allowed the inference of a set of transcription factors whose activity may differ according to disease outcome. Potential links between the biomarkers, the transcription factors and the genes p21/CDKN1A and Myc, which have previously been implicated in NSCLC development, were revealed by a combination of pathway analysis and microarray meta-analysis. These findings suggest that neuroendocrine-related genes, potentially driven through p21/CDKN1A and Myc, are closely linked to whether or not a NSCLC patient will have poor clinical outcome.

Dose, dose-rate and field size effects on cell survival following exposure to non-uniform radiation fields

For the delivery of intensity-modulated radiation therapy (IMRT), highly modulated fields are used to achieve dose conformity across a target tumour volume. Recent in vitro evidence has demonstrated significant alterations in cell survival occurring out-of-field which cannot be accounted for on the basis of scattered dose. The radiobiological effect of area, dose and dose-rate on out-of-field cell survival responses following exposure to intensity-modulated radiation fields is presented in this study. Cell survival was determined by clonogenic assay in human prostate cancer (DU-145) and primary fibroblast (AG0-1522) cells following exposure to different modulated field configurations delivered using a X-Rad 225 kVp x-ray source. Uniform survival responses were compared to in- and out-of-field responses in which 25-99% of the cell population was shielded. Dose delivered to the out-of-field region was varied from 1.6-37.2% of that delivered to the in-field region using different levels of brass shielding. Dose rate effects were determined for 0.2-4 Gy min⁻¹ for uniform and modulated exposures with no effect seen in- or out-of-field. Survival responses showed little dependence on dose rate and area in- and out-of-field with a trend towards increased survival with decreased in-field area. Out-of-field survival responses were shown to scale in proportion to dose delivered to the in-field region and also local dose delivered out-of-field. Mathematical modelling of these findings has shown survival response to be highly dependent on dose delivered in- and out-of-field but not on area or dose rate. These data provide further insight into the radiobiological parameters impacting on cell survival following exposure to modulated irradiation fields highlighting the need for refinement of existing radiobiological models to incorporate non-targeted effects and modulated dose distributions.

Liminal Lines:work for euphonium and live electronics

This is the first in series of works that explores the edges of musical styles, in particular the musical language associated with the brass band traditions and the relationship between this performance genre and the work of experimental electronic composition.

A construção ilusória da realidade, ressignificação e recontextualização do "Bumba meu boi" do Maranhão a partir da música

A presente tese inscreve-se no domínio da etnomusicologia. Resulta da realização de trabalho de campo no estado do Maranhão/Brasil, entre 2012 e 2014, e propõe um exercício de reflexão sobre as transformações pelas quais passou a prática performativa Bumba meu Boi, a partir da introdução dos instrumentos de sopro na sua componente musical, dando origem ao Boi de Orquestra. Parti do estudo etnográfico dos quatro principais estilos de Bumba meu Boi (sotaques) existentes antes da criação do Boi de Orquestra, e de uma pesquisa de cunho histórico que buscou o modo como esta prática se configurou já no século XX e como ela se traduz na performance (folguedo). Argumento que a criação do sotaque de orquestra favoreceu a aceitação do folguedo pela elite social do Maranhão, que o identificou como próximo da cultura europeia, da qual se sentia caudatária. O repertório performativo analisado neste trabalho inclui as toadas, as danças, as indumentárias e os rituais de batizado e morte do boi, a partir dos registros sonoros e visuais efetuados no mês de junho e julho de 2013. Desta forma, este trabalho procura contribuir para a compreensão do lugar que a música ocupou nos movimentos gerados pelos povos subjugados no período pós-colonial, na luta pela afirmação do seu direito à existência singular. Neste sentido serão analisados os processos de ressignificação e de recontextualização do Bumba Meu Boi e da música, enquanto dispositivos que, no caso do Maranhão, contribuíram para a construção de mundos comuns a partir da criação de realidades ilusórias.

University Chorale in a Program for the American Choral Directors Northwest Division Convention, February 27, 1976

Concert program for University Chorale, February 27, 1976

Gavel

An ornamental wooden gavel with brass plate from the 1965-66 Brock University Student Assembly. The inscription on the gavel reads: Don Chapman, Brock University Student Assembly, Speaker of the House, 65-66.

Brown Bess Musket

This original Brown Bess musket is an East India Pattern musket (3rd model) as it has a 39 inch barrel, a brass side plate on the opposite side of the lock and has no tail to it. The tang on the butt plate is also short. The lock mechanism reveals that this musket has been converted to a percussion cap musket, which became popular in the 1820s. It was assembled at the Tower of London and is engraved with a crown, "GR" and an "X", on the top of the barrel. There is also a ".W. Reg.t" marking on the side of the barrel. This rare musket is typical of the muskets carried by British and Canadian soldiers during the War of 1812 and the Rebellion of 1837.

Niagara Symphony Orchestra fonds, 1926, 1948-1998, n.d.

In 1948, The St. Catharines Civic Orchestra was founded by Jan Wolanek who was also the first conductor. Initially, this was a community orchestra and in 1963 its governing body assumed the name St. Catharines Symphony Association. In 1978 the name was again changed to The Niagara Symphony Association to reflect regional responsibilities. Wally Laughton was named Assistant Conductor in 1952/53. R.C. Clarke took over the orchestra for an interim period after Wolanek left in 1957. In 1958 Leonard Pearlman became the Music Director. It was under his direction that the Niagara Symphony Chorus came into existence in 1963. Milton Barnes succeeded Pearlman in 1964 and he was responsible for directing the symphony’s first opera production. He also made a concerted effort to attract younger people to symphonic music. In 1972 Leonard Atherton became the Music Director. He started the Cantata Choir and the Madrigal Singers. It was under his tenure that the orchestra became professional. When Atherton left in 1980, there were three seasons of guest conductors, the most notable of these conductors was Uri Mayer. In 1981 James Vincent Fusco was appointed as composer in residence and in 1983 Ermanno Florio became the Music Director. He retained this position until 1995 when Michael Reason took over. Daniel Swift was appointed as Music Director and Conductor in 1999 and the Niagara Symphony Orchestra became the orchestr in residence at Brock University. Laura Thomas was appointed as Associate Conductor 1n 2004. Daniel Swift’s resignation in 2008 began a search for a new Music Director. Bradley Thachuck was appointed as Music Director Designate and Principal Conductor in 2010. The orchestra is a fully professional, charitable institution with 52 members.The orchestra has also been led by Victor Feldbrill and Howard Cable. A junior symphony was first formed under Leonard Pearlman in 1960/61, but it wasn’t until 1965 that The St. Catharines Youth Orchestra was founded. The orchestra has consistently been an award winner in music festivals. The musicians range in age from 12 to 18 years. The highlight of the 1973-74 season was the orchestra’s participation in the first Canadian Festival of Youth Orchestras at The Banff School of Fine Arts. The St. Catharines Youth Orchestra has evolved from the St. Catharines School String and Brass Ensembles to a full scale symphony under the direction of conductor Paul van Dongen. In 1974 the Symphony House music program came into existence. It was 1976 when Richard Grymonpre was hired as the principal violinist of the St. Catharines Symphony Orchestra and conductor of the St. Catharines Youth Orchestra. Tak Ng Lai took over the position as conductor in 1978. Laura Thomas is currently the Music Director of The Niagara Youth Orchestra. Source: Niagara Symphony, Orchestra in Residence, Brock University website and notes from Niagara Symphony files

Woodruff Family fonds, 1784 – 1983, (non-inclusive)

The Woodruff Family Collection: From the time the Woodruff Family came to Canada from the United States in 1795, they took an active role in the forming of their communities both in a civic and social manner. This is evident through the documents contained in this collection. The Woodruffs played an active role in the battles fought in Upper Canada and they were an integral part of the Village of St. Davids. They were educated, business-minded and socially engaged. They accumulated much of their fortune through land dealings. Much of this collection focuses on Samuel DeVeaux Woodruff who was principally a businessman. His dedication to his work is shown through his numerous undertakings. He made his mark on the Niagara Peninsula through his work on the railways, roads, marsh land revisions, canals and the paper industry. He was also involved with the founding of the Long Point Company and he took control of building DeVeaux Hall down to the last detail. His offspring inherited his work ethic and his business acumen. The people who married into the Woodruff Family also possessed key social, political and business ties. Anne and Margaret Clement were from a staunch Loyalist background. Samuel Zimmerman was instrumental to the founding of Niagara Falls and Judge Samuel DeVeaux left behind a legacy for poor and homeless boys in Niagara Falls, New York. The Woodruff Family undoubtedly left a mark on the Niagara Peninsula. This collection brings to light many endeavours of the family and their varied contributions.

Photograph - Robert DeVeaux Woodruff Band as a child in floral frame

Black and white photograph, 4 cm x 3 ½ cm, of Robert Band as a young child. This photograph is encased in a floral frame with a brass back. The back of the photo is inscribed with “Robert D. W. Band”.