The Brass Band

D. W.; Harold C. Hind

doi:10.2307/918677

The Mid-19th Century Brass Band - A Rebirth

Historic Brass Society Journal ◽

10.2153/0119900011007 ◽

1990 ◽

Vol 2 ◽

pp. 123-131 ◽

Cited By ~ 1

Author(s):

Jon Borowicz

Keyword(s):

19Th Century ◽

Brass Band

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Study on Evolution of Plastic Deformation of Brass Band under Impact Load

Key Engineering Materials ◽

10.4028/www.scientific.net/kem.753.222 ◽

2017 ◽

Vol 753 ◽

pp. 222-227

Author(s):

Jun Hui Yin ◽

Chao Xiong ◽

Hui Yong Deng ◽

Yan Long Zhang

Keyword(s):

Plastic Deformation ◽

Growth Stage ◽

Impact Load ◽

Recrystallization Process ◽

Brass Band ◽

Sexual Characteristics ◽

Surface Metal ◽

Band Deformation ◽

The Impact ◽

Meso Scale

During the moving stage of the projectile, the impact load produced by the detonation of the explosive powder acts on the ribbon, causing the plastic band deformation to occur rapidly and the surface temperature rapidly increases. In this paper, the evolution mechanism of the plastic deformation of brass band is studied, and the recrystallization process of the surface metal is still at the meso-scale scale. The recrystallization and grain growth stage sexual characteristics.

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To the issue of program as a component of artistic and image content of music (on the example of the concerto for saxophone and brass band by J. Mackay)

Humanities science current issues ◽

10.24919/2308-4863/39-2-3 ◽

2021 ◽

Vol 2 (39) ◽

pp. 15-21

Author(s):

Volodymyr LEBED

Keyword(s):

Image Content ◽

Brass Band

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The National Brass Band Festival

The Musical Times ◽

10.2307/920606 ◽

1936 ◽

Vol 77 (1124) ◽

pp. 936

Author(s):

D. W.

Keyword(s):

Brass Band

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Forte Fortissimo for Amateur Musicians: No Effect on Otoacoustic Emissions

Medical Problems of Performing Artists ◽

10.21091/mppa.2013.1002 ◽

2013 ◽

Vol 28 (1) ◽

pp. 3-8 ◽

Cited By ~ 1

Author(s):

Ole J Møllerløkken ◽

Nils Magerøy ◽

Magne Bråtveit ◽

Ola Lind ◽

Bente E Moen

Keyword(s):

Otoacoustic Emissions ◽

Office Workers ◽

Cochlear Function ◽

Distortion Product ◽

Brass Band ◽

Hearing Ability ◽

Sound Levels ◽

Amateur Musicians ◽

Before And After ◽

Noise Measurements

Many amateur musicians are likely to be exposed to high sound levels during rehearsals. Measuring otoacoustic emissions (OAE) is an objective technique to assess hearing ability and can be used as an early predictor of hearing loss. This study aimed to record sound levels at an amateur brass band rehearsal and to examine the cochlear function of the musicians by evaluating distortion product (DP) OAE amplitudes before and after sound exposure. Twenty-four brass band musicians and 10 office workers were examined with personal noise measurements and DPOAE tests before and after a music rehearsal or one office workday, respectively. The sound levels in the brass band ranged from 92 to 100 dB(A), LaEQ 96 dB(A). However, the amateur brass band members had no change in DPOAEs after this exposure compared to pre-exposure levels and compared to office workers.

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In Memory: Uncle Lionel Batiste (February 11, 1932–July 8, 2012)

Walking Raddy ◽

10.14325/mississippi/9781496817396.003.0011 ◽

2018 ◽

pp. 167-188

Author(s):

Jerry Brock

Keyword(s):

Black Women ◽

Community Organizing ◽

Second Line ◽

Mardi Gras ◽

Cultural Traditions ◽

Brass Band ◽

African American Music ◽

Dirty Dozen ◽

Term Baby ◽

Baby Doll

The chapter “In Memory: Uncle Lionel Batiste,” traces the life of popular New Orleans musician and cultural activist Uncle Lionel Batiste (born Feb. 11, 1932) in the context of his family, community, music, baby dolls, Dirty Dozen Kazoo Band, Mardi Gras, second line parades, Spiritual churches and ancestry. The experience and enrichment of African American music and cultural traditions, expressions and lifestyles are presented in relationship to social and economic oppression and the Civil War, Reconstruction and the movement for equality, equity and justice. The author challenges the monophonic and repeated reckoning that the practice of Black women masking as Baby Dolls was originated solely by a group of prostitutes from Black Storyville in 1912. The work attempts to define the ambiguous term “baby doll” in historical, social, cultural and political context and traces “baby doll” inclusions in popular music and theater. Uncle Lionel’s mother Alma Batiste started the Batiste baby dolls and was active in community organizing and rose to the position of Reverend Mother Alma Batiste in the Spiritual church. The beginnings of the Dirty Dozen Kazoo Band and the Dirty Dozen Brass Band along with research into the origination of the second line parade tradition as it relates to Uncle Lionel, his family and neighborhood is advanced. It concludes with Benny Jones and the Treme Brass Band whom Uncle Lionel performed with the last two decades of his life (death July 8, 2012).

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