Military Music Bands

This is a biography of a Nova-Scotian black soldier who served in the British Army during the Napoleonic War, and later settled in Liverpool when working as a sailor. It will be source led in format, and comments from myself will be limited to clarification of contemporary events. It is inspired by Fryer’s Staying Power, The History of Black People in Britain, (1984), Chater’s Untold Histories: Black People in England and Wales During the Period of the British Slave Trade, 1660-1807, (2011), and Costello’s Black Liverpool: The Early History of Britain’s Oldest Black Community, 1730-1918, (2001).

The 1760s was a period of innovation when new instruments such as the square piano and the clarinet appeared on the musical stage. As players of the new clarinet arrived in England, primarily from Germany, composers incorporated its novel sounds and tone colours in several works. The purpose of this article is to highlight the clarinet's early appearances in England, its rise in popular appeal, the beginnings of British manufacture and its musical use.

The abandonment in the early nineteenth century of the Ottoman military bands (mehterhâne and tabl-khāne) that had provided ceremonial music for the Romanian princes, and the establishment of Western-style military bands in the newly formed army, brought about a radical shift in the cultural paradigm that was to have an effect upon the entire spectrum of musical life in the capitals of the Romanian provinces of Wallachia and Moldavia. This change occurred at two levels: on the one hand, musicians and the repertory current in noble salons were imported from the West, and, on the other, a native ethnic element was activated in a series of works and orchestrations based on folk themes. The present study examines the emergence, development and organization of the modern military bands in the Principalities of Wallachia and Moldavia in the context of native musical practices and the transition of Romanian society from an oriental mentality to an outlook and behaviour specific to Western Europe, in the period from the nineteenth century to the War of Independence (1877).

Η στρατιωτική μουσική έχει εμφανιστεί από τους αρχαίους χρόνους, σε όλους τους στρατούς, διαφορετικών λαών και πολιτισμών. Όπως η μουσική, υπάρχει και επηρεάζει τη ψυχολογία του ανθρώπου και τον τρέπει στη συγκίνηση, στον ενθουσιασμό, στη χαρά ή τη θλίψη, έτσι και η στρατιωτική μουσική αποβλέπει ή στην τέρψη των μαχητών ή στη διέγερση του ενθουσιασμού τους ή στην ανύψωση του ηθικού τους.
Η ιστορία της στρατιωτικής μουσικής χάνεται στα βάθη των αιώνων.Κατά την αρχαιότητα, η στρατιωτική μουσική, η οποία ακολουθούσε τον αρχηγό του στρατεύματος, είτε αυτός ήταν βασιλιάς ή στρατηγός, περιελάμβανε εκτός από τις σάλπιγγες και τους αυλούς, κέρατα και οξύφωνες σύριγγες, κύμβαλα, βαρβίτους και τύμπανα, ενώ στα μεγάλα στρατιωτικά συμπόσια και στις χαρμόσυνες ή πένθιμες τελετές, προσθέτονταν και έγχορδα όργανα, όπως κιθάρες ή άρπες.
Σε αυτό το άρθρο, γίνεται μια αναδρομή στη στρατιωτική μουσική κατά τους αρχαίους χρόνους στον Ελλαδικό χώρο. Στη συνέχεια, δίνεται μια  μικρή αναφορά στο Βυζάντιο και στις μπάντες στην Ευρώπη, εκείνη την χρονική περίοδο.
Ακολουθεί η ιστορία του Μουσικού Σώματος του Στρατού Ξηράς, από τον επικυριαρχούμενο Ελλαδικό χώρο (1453-1821),το νεοσύστατο Ελληνικό κράτος(1824-1900), τους Βαλκανικούς πολέμους, τους Παγκοσμίους Πολέμους εώς και σήμερα.
Αναφέρονται οι σημαντικότεροι αρχιμουσικοί και οι μουσικές δημιουργίες τους, οι στρατιωτικές σχολές μουσικών και στο τελευταίο μέρος του άρθρου, το ρεπερτόριο, οι συναυλίες και η δισκογραφία του Σώματος.

The studies in this volume were written over the course of a decade, and have been presented at various musicology symposiums and workshops in Romania and internationally; some are the fruit of research projects undertaken at institutes of advanced learning.
As for article content, it should be said that in spite of an apparent lack of thematic unity, the common denominator is interculturality and the musical blend. The book examines the sacred and west-European secular influences, which formed in the Byzantine territories that from an early date came under Latin administration (for example Crete) or in what is today Romania. In other words, the mutual musical influences of East and West that were manifest in the Mediterranean during the Venetocracy and in the north-Danubian provinces of Wallachia and Moldavia, under Byzantine hegemony, the Church music practices of the Eastern Roman Empire, and the subtle insinuations of communist ideology found in Byzantine musicology and the military music of totalitarian Romania. These are just a few of the topics explored in this book, topics which I hope will awaken an interest in these little known areas of Byzantine and Romanian musical culture, whatever the reader's level of specialisation.
Over the years I have accrued a number of debts of gratitude, which should be acknowledged. I must first mention my mentor, Archdeacon Professor Sebastian Barbu– Bucur († 2015), who helped launch my academic career. For more than twenty-five years, I had the honour, privilege and joy of being his student and apprentice (mathitis). It is to him this book is dedicated.
I also thank those friends who supported and encouraged me during the writing of these studies. Their rigorous reading, critical comments and encouragement vastly contributed to the final version: Costin Moisil, for the competent grace and participative intelligence of his comments; Daniel Suceava for his all-seeing scholarly eye; Maria Takala–Roszczenko for her transcription of the Slavonic sticheron dedicated to St Paissy Velichkovsky; Professor Dan Buciu and Professor Speranţa Rădulescu for their profound, judicious and at the same time friendly reading of my studies of Western music in Venetian Crete; and Professor Valentina Sandu–Dediu for her excellent competence and subtle guidance of my research in the highly complex and obscure area of music in communist Romania.
Not least, I give thanks for the kindness of the nuns of the Stavropoleos Church for the design of the cover and many other pieces of advice, and I thank Lucian Florentin-Mâță for preparing the book to go to press.

This article contains an analysis of the repertoire that the Ban- da del Batallón Guardia Presidencial played in concerts as part of the cultural policies of the Liberal Party governments in Colombia between 1930 and 1946.The study of the organiza- tion and classification of this repertoire shows how –following the French model adopted since 1897- the concert activities, performed with clear symbolic and political ends during this period, adopted a classification in three ‘orders’ (classical, light and popular music) assigning priority to that of the ‘first order’ but –to a lesser degree- including the other two in search of balance and acceptability.

Este trabajo presenta un análisis del repertorio de la Banda del Batallón Guardia Presidencial interpretado en conciertos en el ámbito de la política cultural de los gobiernos del Parti- do Liberal en Colombia entre 1930 y 1946. El estudio de la organización y clasificación de éste repertorio, muestra cómo -siguiendo el modelo francés desarrollado desde 1897- la ac- tividad de conciertos realizada con fines políticos y simbólicos durante dicho período adoptó una clasificación del repertorio en tres ‘ordenes’ (música clásica, ligera y popular) y estableció como prioridad el repertorio de ‘primer orden’ aunque en me- nor grado, incluyó los otros dos en búsqueda de equilibrio y aceptación de su programación.

Începând cu 23 august 1944, sub presiunea continuă a Comisiei Aliate de Control (sovietică), a Partidului Comunist Român şi a diverşilor oportunişti, s-au început subordonarea şi controlul direct ale instituțiilor de stat care, paradoxal, aveau misiunea de a apăra independența, suveranitatea şi ordinea în societate şi în rândul cărora se număra şi armata. 1 Scopul: anihilarea elitei sale şi ridicarea unei armate "noi", "revoluționare", ca instrument de opresiune, care să sprijine regimul totalitar, fără a fi capabilă să-i ia locul. 2 Vorbim despre un elaborat proces de destructurare a forței armate ce se desfăşoară în două etape (august 1944-6 martie 1945; martie 1945-1948) şi care înseamnă, practic, pe de o parte, dezarmarea galopantă a țării în paralel cu ocupația militară sovietică şi, pe de altă parte, înregimentarea politică treptată, lucru de neimaginat în regimul precedent. Asistăm la un fenomen de "epurare" masivă a corpului de cadre militare, de "punere la dispoziție" şi "demascare", fenomenul ca atare fiind tradus de partea comunistă ca unul de "democratizare" a armatei, "elementele sănătoase" fiind reprezentate de cei recrutați din rândurile clasei muncitoare şi a țărănimii. 3

The article assesses the role of the military in the global dissemination and exchange of music in the long nineteenth century. It shows that, first, Western military music and its instrumentation were influenced by cross-cultural encounters, primarily with the Ottoman Empire. Second, I argue that educational professionalization and instrumental standardization were important vehicles for the global rise of the military band beyond its original purpose. Third, tracing the transnational careers of some German military musicians will make evident that competition with respect to national prestige, rising imperialism, and the increasing commercialization of musical life were crucial features of the spread of military musicians all over the world, making them cultural brokers not only of military music.

Zvučni zapisi vojne glazbe u Hrvatskoj 1 U ovom radu autori obrađuju historijat proizvodnje ploča na području Austro-Ugarske Monarhije, a time i Hrvatske, pri čemu je posebna pozornost posvećena detektiranju brojnih izdavača i njihovih izdanja. Naravno, u središtu pozornosti su izdanjima sa izvedbama vojnih orkestara nastala do 1918., ali i malobrojna suvremena diskografska izdanja iste glazbe. Na kraju rada priložen je katalog do danas sačuvanih primjeraka.
*Cf. Zvučni zapisi vojne glazbe u Hrvatskoj. (Summary:) Military music records in Croatia and the Austro-Hungarian Monarchy. 1914. prva godina rata u Trojednoj Kraljevini i Austro-Ugarskoj Monarhiji. Zbornik radova. Vijoleta HERMAN KAURIĆ Ed. Zagreb, 2018: 383-408. (*Co-authored with: Velimir KRAKER).

In the context of this year’s centenary of World War I, the focus of this text is the music activities of the Serbian army in North Africa (1916−1918), where they recuperated from their retreat across the mountains of Albania. This paper is a result of an extensive archival research of the National Library of Serbia’s collections and periodicals published during the Great War in North Africa. The daily news bulletin Napred/En avant published during the war in Africa deserves special attention, along with the personal archives of conductor and Serbian army captain Dragutin F. Pokorni (1868−1956). The paper sheds light on the work of a Serbian military orchestra, officially called the Band of the Cavalry Division (BCD, in Serbian: Muzika Konjičke divizije) and their leader Pokorni, hitherto little known in Serbian musicology. More importantly, the paper critiques official Serbian historiography and its primary concern with glorifying the ‘heroism’ and sacrifice of Serbian soldiers, whilst keeping silent on the ‘quiet African episodes’ in the activities of the Serbian army from January 1916 to December 1918. This paper also highlights key points in the fruitful encounter between Serbian military musicians and the multi-layered cultures of the Maghreb and examines the importance of the BCD’s promotion of Serbian culture overseas as a type of cultural diplomacy. By placing the activities of this Serbian military orchestra in the broader context of Serbian cultural diplomacy in the Great War, this paper offers an answer to the current debates in the humanities regarding new approaches to, and interpretations of, this year’s global anniversary, mentioned above.

MILITARY MUSIC RECORDS IN CROATIA

The first phonograph records in Croatia were made by Franz Hampe for the then already-renowned company Gramophone Record in the Hotel Royal in Zagreb in 1902; he made more in 1907. According to the truly small number of preserved examples of these small uniface records with a diameter of 17-18 centimetres and the archival research of Alan Kelly, the following military orchestras were recorded: »The Military Band of the VII Croatian-Slavonian Home Guard Regiment, Zagreb« (14 titles); »The Military Band of the Imperial and Royal 16th Regiment« (15 titles), and »The Military Band of the 25th Royal Home Guard Regiment« (17 titles).
These were later joined by larger records with a diameter of 25-30 centimetres, at first uniface, later two-sided. Let us mention the following phonograph companies: Sokol with »The Military Band of the Imperial and Royal 53rd Regiment, Zagreb« (6 records with 12 titles); Drucker »Sokol« Record with »The Military Band of the 70th Imperial and Royal Regiment« (1 record, 2 titles); Elzo Magyar-Hanglemez-Gyár with the orchestra of the 53rd Regiment (1 record, 2 titles); Favorite Record with the band of the 70th Infantry Regiment directed by Josip Czermak (2 records, 4 titles); Columbia Record with the band of the 53rd Infantry Regiment (2 records, 4 titles); and Odeon Record with »The Musical Ensemble of the VII Home Guard District in Zagreb« (1 title). A fairly large number of records with »particularly loud military music« produced by the Odeon company were imported and there were also imported records with labels in Croatian – e.g. Jumbola (Fonotipia).
The first traces of the Great War can be found on a 25-centimetre record produced by Columbia, containing the titles »The Mobilisation of the Army« and »The Army’s Departure«, where the voice of Juraj Dević can be heard, though he isn’t listed on the label. The production of phonograph records with military music was increased during the Great War and their music could be heard on both sides of the battlefield, most commonly on small portable phonographs.
Only one vinyl phonograph record has been released in Croatia to date. It was released in 1993 and contains records of the military music of the 53rd and 70th Royal and Imperial Infantry Regiments in Zagreb (14 titles), recorded in the period from 1906 to 1916.

BRASS BANDS OF CROATIAN REGIMENTS (1902-1918)
VII. hrv. slavonsko domobransko okružje u Zagrebu
1. Zrinjski Marsch von I. pl. Zajc igrano od Kr. ug. zagreb. VII. hrv. slav. domobranskog orchestra. Agram. Croatian – band. Gramophone Record – Gramophone And Typewriter Co. 70065 92(Snimio Franz Hampe 1902. 17.7 cm)
https://www.youtube.com/watch?v=yPL1TrHa8u4

2. Pozdrav iz Gorenjske (Greetings from Gorenjska/Slovenia) (W. Parma). Glasbeni zbor VII. domobranskog okružja u Zagrebu. (Military Band of the VII Landwehr District in Zagreb) International Talking Machine Co. m.b.H (Odeon Record) No. 21043 (35625 xAg.57) (27 cm)
https://www.youtube.com/watch?v=8DkRWdyOA2U&t=8s
https://www.youtube.com/watch?v=8DkRWdyOA2U

C. i kr. 16. pukovnija
3. Klokotovič koračnica. Vojnička glasba c. i k. 16. pukovnije Zagreb. Gramophone Concert Record G.C.-10421 (56201)
https://www.youtube.com/watch?v=jVS6ZtyL-p4&t=23s
https://www.youtube.com/watch?v=jVS6ZtyL-p4&t=65s

4. «Planula zora» koračnica. Vojnička glasba c. i k. 16. pukovnije Zagreb. Gramophone Concert Record G.C.-10422 55621i
https://www.youtube.com/watch?v=BviuJBneeEU&t=35s

Kr. 25. domobranska pukovnija
5. Karišik jugoslavenskih pjesama. Izvadja glazba kr. 25. domobranske pukovnije pod osobnim ravnanjem kapelnika J. Muhvića. Olympia-Record No. 46022 (25 cm)
https://www.youtube.com/watch?v=t8pK_X2yUCQ&t=12s
https://www.youtube.com/watch?v=t8pK_X2yUCQ

6. Jugoslavenska fantazija od Zajca. Izvadja glazba kr. 25. domobranske pukovnije pod ravnanjem kapelnika J. Muhvića. Olympia-Record No. 46030 (25 cm)
https://www.youtube.com/watch?v=lg1rtbnSG6k&t=28s
https://www.youtube.com/watch?v=lg1rtbnSG6k&t=75s

7. Krasnom spolu. Mazurka. Glasba c. i k. 53 pukovnije Zagreb. Jumbola Record 20092 (A111018 Ago.88K) (25 cm)
https://www.youtube.com/watch?v=LYgQZvdUZXA&t=11s
https://www.youtube.com/watch?v=LYgQZvdUZXA

8. Varaždinska mazurka. Glasba c. i k. 53 pukovnije Zagreb. Band of the 53 Imperial and Royal Regiment, Zagreb. Jumbola Record 20093 (A111027 Ago.89K)
https://www.youtube.com/watch?v=YQFHt8lGCac
https://www.youtube.com/watch?v=YQFHt8lGCac&t=49s

9. Seosko kolo. The Village Dance. Glasba 53. pješ. pukovnije Zagreb. Band of the 53 Imperial and Royal Regiment, Zagreb.Croatian. Columbia 67372 (E1931)
https://www.youtube.com/watch?v=Y-sTawqQucU&t=9s
https://www.youtube.com/watch?v=Y-sTawqQucU&t=18s

10. Jugoslavenska koračnica. (The South Slavic March). Glasba 53. pješ. pukovnije Zagreb. (Band of the 53 Imperial and Royal Infantry Regiment, Zagreb.) Croatian. Columbia 67382 (E1931)
https://www.youtube.com/watch?v=JiAbQOmY1U0
https://www.youtube.com/watch?v=JiAbQOmY1U0&t=40s

70. c. i kr. pješačka pukovnija
11. Živila Hrvatska. Glasna jasna, koračnica. (Long Live Croatia. March.)Vojnička glazba 70. c. i k. pješačke pukovnije. (Military Band of the 70 Imperial and Royal Infantry Regiment.) Scala-Record 53779 (25 cm)
https://www.youtube.com/watch?v=Eb0sdbBMAXk&t=31s
https://www.youtube.com/watch?v=Eb0sdbBMAXk&t=84s

12. La Bora. Koračnica. (La Bora. March.) Vojnička glazba 70. c. i k. pješačke pukovnije. (Military Band of the 70 Imperial and Royal Infantry Regiment.) Scala-Record 53782 (25 cm)
https://www.youtube.com/watch?v=sMugHo8DDL4
https://www.youtube.com/watch?v=yPL1TrHa8u4

13. Marsch aus «Zriny». Orchester. Jumbola Record No. 1257. (made for Fonotipia companies) (25 cm)
https://www.youtube.com/watch?v=e-94hIuSbIM

12. Mobilizacija vojske. (The Mobilization.) Columbia Double-Face Record D-6830 (67395) (25.5 cm) (*Juraj Dević)
https://www.youtube.com/watch?v=0zMGV0mLVk0
https://www.youtube.com/watch?v=0zMGV0mLVk0&t=2s

13. Odlazak vojske. (The Departure of the Army.) Columbia Double-Face Record D-6830 (67396) (25.5 cm) (*With Juraj Dević)
https://www.youtube.com/watch?v=ngWReeqRLes

The article assesses the role of the military in the global dissemination and exchange of music in the long nineteenth century. It shows that, first, Western military music and its instrumentation were influenced by cross-cultural encounters, primarily with the Ottoman Empire. Second, I argue that educational professionalization and instrumental standardization were important vehicles for the global rise of the military band beyond its original purpose. Third, tracing the transnational careers of some German military musicians will make evident that competition with respect to national prestige, rising imperialism, and the increasing commercialization of musical life were crucial features of the spread of military musicians all over the world, making them cultural brokers not only of military music.

This thesis aims to identify how British army bands in the interwar years were a primary stakeholder in the music industry and to explore their role in projecting soft power for the British military.  There were approximately 7,000 full-time bandsmen serving in the British army, which was about a third of the total number of musicians in the music profession in the United Kingdom.  The War Office was the largest employer of professional musicians in the country and yet there has been very little acknowledgement of the contribution made by this body of musicians, both to the music industry and to the effectiveness of army operations.  This thesis uses models from the business and management literature to interrogate the position of British army music within the context of military structures and the music industry in the interwar years.  It reveals the extent that residential institutions were organised to provide young boys for recruitment into the army as bandsmen and how these boys became an integral part of the music industry.  It explores how army music set the standard for training and performance while creating sustainability for the music industry, which relied upon the existence of army bands for its business.  The thesis then exposes the tempestuous relationship army bands had with the BBC and recording industry, as well as the function the military played in the adoption of an international standard of musical pitch.  Finally, it uncovers the effective role and soft power influence of British army bands and their music in the maintenance of British imperial authority, at home and overseas, and the tragic consequences of operating at the forefront of the military campaign in Ireland.

An exploration of band music on the Virgin Islands at the time of their purchase by the United States, focusing on the band led by Alton Augustus Adams. This juvenile band was inducted into the navy creating a remarkable and exceptional African American unit of Navy musicians at the time that segregationist policy in the U.S. military prevented blacks from being musicians. This paper focuses on the impact of the band's work as a cultural bridge between the white naval administration and the largely black populace of the islands up through the ensemble's 1924 tour of the U.S. mainland. Black Music Research Journal Vol. 18, No. 1/2 (Spring/Fall 1998), pp. 21-65.

Prenant une revanche culturelle sur la défaite de Waterloo, la France met au point le premier orchestre de plein air fonctionnel quand elle adopte, en 1845, l’organisation et les instruments proposés par Adolphe Sax.
Résultat d’une intense concurrence internationale, ce progrès “militaire” très attendu se diffuse dans toute l’Europe pour ensuite contribuer au rayonnement de la musique européenne sur toute la planète.
En permettant l’évolution des orchestres dans un domaine qui n’appartient pas à sa mission principale et malgré les arbitrages budgétaires, l’armée joue un rôle culturel majeur sous-évalué. Elle est rapidement imitée, et bien souvent dépassée, par des formations civiles qui vont toutes contribuer au renom de la culture française.
Cet élan culmine à la Belle Epoque avec ses kiosques à musique. Ils sont une étonnante mise en application du principe de subsidiarité avec des orchestres composés de musiciens recrutés localement faisant entendre des programmes issus de l’opéra au café-concert et capables de séduire un public regroupant toutes les classes sociales.
Ces orchestres de plein air ne font que finaliser les expérimentations révolutionnaires du Champs-de-Mars, mettant ainsi un terme à un siècle de changements de régimes.
Malgré, ou à cause, de son succès ce rôle culturel de l’armée est généralement ignoré, et même ridiculisé, occultant l’importance de ces orchestres et des musiques vivantes.

Almost a million Australians served in World War II. Military bands were, in many ways, the public face of the armed forces, performing in departure and welcome home ceremonies, recruitment drives and to pacify potential enemy sympathisers. Despite this, there has been little research conducted on mid-twentieth century Australian military band history. This thesis is the first study of the lives of Australia’s military musicians before, during and immediately after World War II. The period from 1930 to 1955 saw a marked change in the organisational structure of the Australian military generally and its band services specifically, as they transformed from a largely part-time force, to a fully professional service with long-term career structures for its members. Throughout this time of great change musicians serving in the Australian military were tasked with performing ceremonies aimed at reminding the population, military and civilian alike, of the longstanding traditions and ethos...

We współczesn ej historiogra fii polskiej nie dostrzega się roli i znaczenia muzyków wojskowyc h w armiach epoki nowożytnej , w przeciwień stwie do cywilnej części tej grupy zawodowe j 1 . Zjawisko to można wytłumaczyć nieatrakcyj ności2t pola badawczeg o. Muzyka wojskowa nie prezentowa ła wysokiego poziornu artystyczne go, nie docenia się jej również jako narzędzia w przr:kazyw aniu informacji.

Chapter 1: Introduction
Part 1: Culture
Chapter 2: The gentlemen of the regiment: Musicians in the regular army
Chapter 3: ‘Breaking in’ the young hands: The dependence on band boys
Part 2: Performance
Chapter 4: Seaside, ceremonial, and an unhappy union: Bands and live performance
Chapter 5: A clear and homogenous sound: Performance practice and recording
Chapter 6: ‘Tonic’ music and discord with the BBC: Repertoire and broadcasting
Part 3: Influence
Chapter 7: Kneller hall and the pitch battle with the War Office
Chapter 8: Punching above their weight: Soft power influence of British army bands overseas
Chapter 9: The Youghal ‘outrage’: Political appropriation of military bands and the founding of the Irish Free State
Appendix 1: Broadcasts (excluding outside broadcasts) by staff bands from January 1932 to September 1933
Appendix 2: Colonel Somerville’s list to the BBC of army bands graded ‘outstanding’ by Kneller Hall in 1933.
Appendix 3: Colonel Jervis’s ‘order of merit’ army band list sent to the BBC in 1934, notable for its absence of
staff bands.
Appendix 4: Walton O’Donnell’s BBC audition reports for three bands in Northern Ireland.
Appendix 5: Internal 1941 BBC memo rejecting the Kneller Hall band grading system.
Appendix 6: Army Council Instruction – 544: Pitch of Instruments of Army Bands
Appendix 7: An anonymous humorous poem about the change to low pitch published in The Leading Note in 1929
Bibliography
The author

There were approximately 7,000 full-time bandsmen serving in the British army in the interwar years. This was about a third of the total number of musicians in the music profession in the United Kingdom, making the War Office the largest single employer of professional musicians in the country. British army musicians were a key stakeholder in the music industry in the United Kingdom, but also farther afield, where it made a significant contribution to the maintenance of British imperial authority.

To sustain the large number of bands, residential institutions provided young boys for recruitment into the army as bandsmen and, as a consequence, the army set the standard for musical training and performance. The music industry relied upon the existence of army bands for its business and the military played a significant part in the adoption of an international standard of musical pitch. Nevertheless, there was a tempestuous relationship between army bands and the BBC, as well as the recording industry as a whole.

Using untapped sources and original material, Major David Hammond reveals the role and soft power influence of British army music in the interwar years.

This is a biographical case study of a black soldier, and former Royal Navy sailor, who spent his service in nineteenth century London, and settled there after discharge. It is inspired by Fryer’s “Staying Power, The History of Black People in Britain” (1984), and Chater’s “Untold Histories: Black People in England and Wales During the Period of the British Slave Trade, 1660-1807” (2011).
    British Army records provide physical descriptions facilitating the identification of black soldiers in civilian records. Often the latter do not provide any such indicator. This piece serves to illustrate the richness of military records, and their usefulness to researchers and historians. It is a companion piece to Stephen Blunman: Black Soldier and resident of London, which can be found on www.academia.edu For an overview of the presence, role and status of black soldiers in the British Army during this period please see: JD. Ellis, Soldiers of African origin in British Army Regiments in England and Yorkshire, 1700s to 1840s. A paper presented at “What Happening in Black British History? VIII. University of Huddersfield, 10th May 2018. Also on www.academia.edu

The article assesses the role of the military in the global dissemination and exchange of music in the long nineteenth century. It shows that, first, Western military music and its instrumentation were influenced by cross-cultural encounters, primarily with the Ottoman Empire. Second, I argue that educational professionalization and instrumental standardization were important vehicles for the global rise of the military band beyond its original purpose. Third, tracing the transnational careers of some German military musicians will make evident that competition with respect to national prestige, rising imperialism, and the increasing commercialization of musical life were crucial features of the spread of military musicians all over the world, making them cultural brokers not only of military music.

Ανιχνεύοντας τις ιστορικές ηχογραφήσεις του γραμμοφώνου (78 στροφών) θησαυρίζονται και ηχητικά τεκμήρια όπου καθίσταται δυνατή για πρώτη φορά η ακρόαση της Στρατιωτικής Μουσικής της Φρουράς Αθηνών.
Η νυκτερινή εορτή και τελετή της Αναστάσεως στον Μητροπολιτικό ναό των Αθηνών, ο χορός της Μητροπόλεως στον Επιτάφιο θρήνο, το ωρολόγιο, οι σάλπιγγες και τα τύμπανα, η χορωδία, οι κωδωνοκρουσίες και η Μουσική της Φρουράς που διευθύνουν ο Θεμιστοκλής Πολυκράτης και ο Κερκυραίος Σπυρίδων Καίσαρης συνιστούν το περιεχόμενο ενδεικτικών ηχογραφημάτων. Ακόμη, μαρτυρείται η εθνική εορτή συνδεόμενη με την θρησκευτική τελετή του Ευαγγελισμού της Θεοτόκου στην πόλη των Αθηνών, με χορωδία, κωδωνοκρουσίες και συνοδεία της Μουσικής της Φρουράς υπό την ιδία διεύθυνση. Άλλοτε, διευθύνει ο Λ/γος Β. Σωζόπουλος συνοδεύοντας μεγάλη χορωδία υπό την διεύθυνση του Γ. Δεϊμέζη, ενώ απαντώνται εκκλησιαστικές χορωδίες, ανδρικές χορωδίες και η συμμετοχή του τενόρου Μισαηλίδη.
Η παρούσα έρευνα εξετάζει τα στοιχεία των παραπάνω ηχογραφήσεων καταγεγραμμένων συνολικά κατά την προπολεμική περίοδο στην Αθήνα, και συγκεκριμένα από το 1922 ως το 1936· οι δισκογραφικές εταιρείες που πραγματοποίησαν την πρωτοβουλία τους, η επανακυκλοφορία από εταιρείες της Αμερικής και η σημασία τους για την αμερικάνικη ομογένεια, οι περιγραφές στους καταλόγους και οι διαφημίσεις στον τύπο της εποχής, ενώ θα προβληθεί και θα ακουστεί, αρμόδιο φωτογραφικό και ηχητικό υλικό.
Τέλος, θα ερμηνευτούν και αναλυθούν σε μουσικολογικό αλλά και λαογραφικό επίπεδο, αφού οι προηγηθείσες μαρτυρίες ενδιαφέρουν ιδιαίτερα την θρησκευτική λαογραφία που τις εντάσσει στο δημόσιο τελετουργικό και συχνά βρίσκονται στο μέσον, μεταξύ τελετής και τελετουργίας, ενώ συνεχίζουν με την ίδια μορφή να επιτελούνται ως τις μέρες μας.

The story of the events surrounding the drowning of an African American soldier in the River Humber in August 1820.
The idea for this paper came out of my talk at a study day exploring The Stories of People of African Descent in Hull and East Yorkshire 1750s – 2007 in Hull, 7th October 2017. My talk examined Black soldiers in British Army regiments, 1750s to 1840s, and specifically their links to Hull and East Yorkshire. This paper should serve as a companion piece to John Lewis Friday. (Also on academia.edu)
    The advice and support of Gifty Burrows was important in the writing of the article. This original can be found on www.africansinyorkshireproject.com

A través del presente artículo se pretende estudiar el proceso mediante el cual un género musical de carácter religioso, como es la música procesional, se introduce en un ámbito totalmente diferente, como es la música de cine. Concretamente, encontramos esta intertextualidad en la BSM de la película Alatriste (2006), dirigida por Agustín Díaz Yanes y ganadora de 3 Premios Goya. A pesar de que la BSM de Alatriste fue compuesta por el murciano Roque Baños, esta película incluye un peculiar bloque musical en la escena final que representa la Batalla de Rocroi (19 de mayo de 1643). En él, podemos escuchar una de las marchas procesionales más populares en el ámbito del patrimonio musical de la Semana Santa andaluza: La Madrugá (1987), del compositor onubense Abel Moreno.

Almost a million Australians served in World War II. Military bands were, in many ways, the public face of the armed forces, performing in departure and welcome home ceremonies, recruitment drives and to pacify potential enemy sympathisers. Despite this, there has been little research conducted on mid-twentieth century Australian military band history. This thesis is the first study of the lives of Australia’s military musicians before, during and immediately after World War II. The period from 1930 to 1955 saw a marked change in the organisational structure of the Australian military generally and its band services specifically, as they transformed from a largely part-time force, to a fully professional service with long-term career structures for its members. Throughout this time of great change musicians serving in the Australian military were tasked with performing ceremonies aimed at reminding the population, military and civilian alike, of the longstanding traditions and ethos of the military. This thesis explores the dichotomy faced by musicians, working in a constantly modernising organisation like the military, while at the same time maintaining largely unchanging ceremonial performance traditions.
   
  In exploring changes and traditions in Australian military banding between 1930 and 1955 I will concentrate on three main fields: non-musical training and duties, music and performance, and organisational change. Using fieldwork interviews with retired veterans and their families, together with archival records and contemporary newspaper reports, this thesis shows a rapidly changing band service. It tells of barely-trained, part-time militiamen who went on to become the last generation of Australian military musicians to see combat; of highly-trained radar operators who became fulltime bandsmen; and of a previously undocumented group of women, welcomed into mainstream bands during wartime, only to be excluded for another 40 years once peace reigned.
   
  This period was also one of gradual professionalization for Australia’s military band services. In the 1930s musicians performed other military duties, as stretcher-bearers for example; however, starting in World War II and continuing post-war, musicians were gradually removed from the frontlines to focus solely on their musical skills. I will argue that, although it limited their military duties, this process of specialisation was vital to the survival of Australia’s military bands because as increased modernisation led to increased specialisation for military personnel, the idea of having to focus on two distinct fields, such as music and radar operating, was no longer appropriate.
   
  While the mid-twentieth century was a time of great organisational change for Australian military bands, this thesis also demonstrates strong continuity in ceremonial performance. Ceremonial repertoire had often been in use since World War I and much of it is still in use in the present day. Ceremonies such as Remembrance Day are still performed in much the same way today as they were in the period under discussion. Australia’s military musicians may no longer be responsible for keeping up to date with the latest in medicine or radar, but their role as keepers of tradition and ceremony in a constantly modernising military means that they will forever be marching forwards, looking back.

During the First World War, British troops were landing in Salonika in the fall of 1915 and were stationed at the region until the ceasefire in 1918. Apart from the military activities at the “Macedonia Front,” also known as the “Salonika Front,” the military authorities, in order to keep the moral and spirit of the troops at a high level, organised several entertaining activities such as theatrical plays, concerts, sports etc. As part of these activities at the “Macedonia front line”, the soldiers of the 85th Field Ambulance of the Royal Army Medical Corps wrote, composed, designed, performed and annually produced three pantomimes during the Christmas time. The output of this effort was the pantomimes under the title Dick Whittington (1915), Aladdin in Macedonia (1916), Bluebeard (1917), the music of which was composed by Charles H. B. Jaques. A thorough examination of the scores, programme notes, theatre ephemera, photographs, as well as the research of several archival materials and the structure of the military bands of the period will enlighten us about the role and the impact of music and art, in general, during these years at a rather forgotten front of the “Great War.”

Bands of the British military adapted a number of popular songs for use in particular ceremonies.  The Girl I Left Behind Me was used in farewell ceremonies for soldiers and sailors from the late 18th century until the early 20th century.  It was played when ships left home ports, and on the departure from any long term posting, becoming an almost formal acknowledgement of the adage “a sailor has a girl in every port”.  The use of The Girl I Left Behind Me in this context is one of the first aspects of British military band performance to be standardised across the services.  At a time when instrumentation, repertoire, arrangements, pitch and even military signals differed between regiments, this song was ubiquitous at farewell ceremonies not just across regiments, but across different branches of the military (Army, Navy and Royal Marines).  Military arrangements did not feature vocalists, relying instead on audiences already being familiar with the song’s lyrics from popular songsters. This chapter examines five versions of The Girl I Left Behind Me, dating from French Revolutionary Wars (1793–1802) to World War I (1914-1918). It examines how the song changes over time and how this reflects its altered role and meaning for different audiences.

ERAS was founded in 2001 to facilitate interdisciplinary dialogue amongst postgraduate and early career researchers working across all areas of history, archaeology, religious studies, international studies and philosophy. The seventeenth edition of ERAS fully reflects this vision for the journal, with articles relating to heresy, art connoisseurship, Mormonism, Ned Kelly, and music in the military. Appended to this edition is a special themed issue of ERAS dedicated to the 150th anniversary of the end of the American Civil War.

We hope you enjoy this edition of ERAS.

Stephen Joyce
Managing Editor