scholarly journals Winds of courage a mallet concerto for solo mallets and wind ensemble.

2017 ◽  
Author(s):  
Ross Elliott
Keyword(s):  
Wind Ensemble

The Director and the Wind Ensemble

1966 ◽  
Vol 52 (3) ◽  
pp. 59-61
Author(s):  
Willard Musser
Keyword(s):  
Wind Ensemble

Wind Ensemble

1967 ◽  
Vol 108 (1490) ◽  
pp. 351
Author(s):  
Niall O'Loughlin ◽  
Hugo Cole ◽  
Raymond Warren ◽  
John McCabe ◽  
Ernst Uray ◽  
...  
Keyword(s):  
Wind Ensemble

Album of Classical Pieces, arr. for Wind Ensemble

Notes ◽  
1957 ◽  
Vol 14 (4) ◽  
pp. 617
Author(s):  
Leslie Bassett ◽  
G. S. McPeek
Keyword(s):  
Wind Ensemble

The wind ensemble catalog

1998 ◽  
Vol 36 (01) ◽  
pp. 36-0022-36-0022
Keyword(s):  
Wind Ensemble

Wind Ensemble

1969 ◽  
Vol 110 (1520) ◽  
pp. 1067
Author(s):  
Niall O'Loughlin ◽  
Rheinberger ◽  
Taffanel ◽  
Gounod ◽  
Gebauer ◽  
...  
Keyword(s):  
Wind Ensemble

Effect of Musical Performance on Perception of Tension in Gustav Hoist's First Suite in E-flat

1999 ◽  
Vol 47 (1) ◽  
pp. 44-52 ◽  
Author(s):  
William E. Fredrickson
Keyword(s):  
High School ◽  
Performance Analysis ◽  
Wind Ensemble ◽  
Musical Performance ◽  
Research Protocol ◽  
Digital Interface ◽  
High School Band ◽  
Choral Ensemble ◽  
Continuous Response ◽  
Musical Selection

The purpose of the study was to examine whether musicians who rehearse and perform a musical selection perceive tension in the music differently than do listeners who have not had the performance experience. Students ( n = 32) in a university wind ensemble rehearsed and performed Gustav Hoist's First Suite in E-flat. Within 2 weeks of the performance, participants listened to a recording of the first movement (“Chaconne”) of that performance while registering their perceptions of tension in the music using a Continuous Response Digital Interface (CRDI) dial. Another group of students ( n = 32) from a university choral ensemble performed the same research protocol. Students in a high school band ( n = 60) also rehearsed and performed the selection. Participants listened to the recording of the musical selection, and registered their perceptions of tension, before rehearsals began and following their performance. Analysis indicated that the experience of performing the music did not seem to greatly affect perception of tension as measured in this study.

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