The American Bandmasters Association and John Philip Sousa

Contributed by Jack Kopstein
Written by Jennifer Scott, 1995
Edited by Thomas V. Fraschillo, William J. Moody, 2006

During the early part of the twentieth century, the concert band performed more music of quality to the public than any other type of musical organization. Concert bands traveled throughout the United States, Canada, and Europe performing to thousands who otherwise would not have had an opportunity to experience formal concert hall performances. Although the concert band’s popularity was unquestionable, it generally was not considered to be on the same esoteric level as the orchestra; therefore, concert bands suffered a somewhat inferior status among musicians. Factors that contributed to this perception included the concert band’s concert venue, often out-of-doors, the difficulty of conductors to obtain a quality music education, a limited repertoire that with the exception of marches largely borrowed from the libraries of the orchestra, and a lack of camaraderie among the leading bandmasters/conductors of the period.

Dr. Edwin Franko Goldman, composer, conductor, and founder of the Goldman Band, recognized these problems and challenges to the band movement. Believing that quality music for band could and should be offered to the public, Goldman arranged for a small group of outstanding bandmasters to meet in New York in order to discuss the problems of their profession. All agreed that through a combined effort, better bands and better repertoire could emerge. Goldman’s idea for establishing The American Bandmasters Association (ABA) had its inception with this meeting.

Goldman continued to provide the momentum behind the ABA and was determined to improve not only the band’s profession, but also the collegiality among directors. With the oncoming impact of radio broadcasts and the decline in the popularity of the touring professional band, concert bands were forced to fiercely compete for performance venues. Goldman’s New York City band, however, experienced the opposite in that many of his concerts were broadcast on radio and became popular throughout the country. His New York audiences likewise increased through the influence of radio, and attendance at live concerts often exceeded 25,000. He became the second most famous bandmaster in the United States, behind the immortal John Philip Sousa.

Goldman’s rise in fame provided him the respect and contacts that he needed to gain interest and support for the ABA. During the summer of 1928, encouraged by favourable reactions in the profession, he met with Victor Grabel, conductor of the Chicago Concert Band, and Captain William Stannard, leader of the U. S. Army Band, in Columbus, Ohio, to begin discussing what resulted in the first formal steps towards the foundation of ABA.

Capt. Stannard in August, 1928, recorded the original and lasting intent of ABA in a letter to Albert Austin Harding, Director of Bands at the University of Illinois: “We conceived the idea of creating an ABA for the purpose of furthering the interests of outstanding American Band Masters, and of interesting composers, arrangers, and music publishers in Wind Band music. . . . It would be the aim of the ABA to unite in a concerted effort to influence the best composers to write for the Wind Band.” Stannard also wrote that John Philip Sousa had been interviewed in connection with the proposed idea and that he was quite enthusiastic, consenting to act as President of the association. Sousa’s support was of vital importance since he was recognized as America’s foremost bandmaster. Sousa had the respect and personality necessary to motivate bandmasters to unite in Goldman’s cause.

Grabel and Stannard immediately began groundwork toward the official founding of the ABA. Stannard sought input from acclaimed bandmasters and Grabel organized meetings in Chicago when Stannard, Harding, Sousa and other bandmasters could meet. Goldman remained the guiding force behind the movement, while Grabel acted as the primary executive force. The organization took true formation at a meeting in Chicago on October 25, 1928. Grabel, Harding, and Stannard discussed many issues including the importance of key bandmasters, possible locations and times for the first formal meeting, the beginnings of the constitution which would be written by Grabel, and the procedures and qualifications for membership.

New York was approved as the first meeting place and the charter members assembled there on July 5, 1929. These members included Edwin Franko Goldman; Charles Benter, Director of the United States Navy Band, Washington, D. C.; J. J. Gagnier, Director of His Majesty’s Grenadier Guards Band, Montreal, Canada; Victor J. Grabel, Conductor of the Chicago Concert Band; Albert Austin Harding, Director of Bands at the University of Illinois; Richard B. Hayward, Director of the Toronto Concert Band, Toronto, Canada; Charles O’Neill, Director of the Royal 22nd Regiment Band, Quebec, Canada; Arthur Pryor, Director of Arthur Pryor’s Band, New York, NY; and Frank Simon, Director of the ARMCO Band, Middletown, Ohio.

Although the proceedings of this important meeting do not exist, the events can be somewhat retraced from a brief New York Herald Tribune article. Grabel’s draft of the ABA Constitution and by-laws were adopted and an official statement of the objectives of the ABA compiled. These initial objectives set forth the desire for a universal band instrumentation, a higher standard of artistic excellence, and the need to induce prominent composers of all countries to write for the band. At the end of the Constitution, Grabel listed John Philip Sousa as Honorary Life President and the following officers: Goldman, President; O’Neill, Vice President; Grabel, Secretary; and Harding, Treasurer. Simon, Clarke, and Hayward were elected Directors and Pryor was elected Chairman of the Membership Committee.

The first annual convention was held March 13-16, 1930, in Middletown, Ohio, the home-base of charter member Frank Simon and the ARMCO Band. By the second annual convention in 1931, the ABA had begun to move out of its organizational stages and into a decade of activism. World War II brought a redirection of focus for the entire country and caused the 1942 convention to be cancelled. During this difficult period, the ABA Newsletter was begun and served as the essential link that held the group together over the next six years. No conventions followed during the war and the original editor of the newsletter, Lynn Sams, is credited with keeping the interest in ABA alive.

The organization met again in 1947, in Elkhart, Indiana, with members eager to push the association forward in new directions. This convention marked the revival of ABA that has continued to meet annually. Conventions provide the ongoing process of growth and change necessary to adhere to the principles on which the organization was founded. The importance, however, of The American Bandmasters Association does not lie in its meetings, but in its membership. Some of the accomplishments of the collective and singular efforts of it members follow:

• John Philip Sousa’s enshrinement in the Hall of Fame of Great Americans through the leadership of Honorary Life Member Raymond F. Dvorak.

• The establishment of the Journal of Band Research through the leadership of past president Dr. Paul V. Yoder.

• The founding of the American School Band Directors Association by American Bandmasters Association member Mr. Dale Harris.

• The founding of the College Band Directors National Association by past president Dr. William D. Revelli.

• The founding of the National Band Association by past president Dr. Al G. Wright.

• The founding of the National Band Association Hall of Fame for Distinguished Conductors by Dr. William D. Revelli, president of the National Band Association, and founding president Dr. Al G. Wright.

• Establishment of The American Bandmasters Association Research Center at the University of Maryland, under the leadership of Dr. Paul V. Yoder.

• The founding of the Phi Beta Mu International Bandmasters Fraternity by past president Colonel Earl D. Irons.

• The establishment of The American Bandmasters Association/Ostwald Band Composition Contest by ABA associate members Ernest and Adolph Ostwald.

• The establishment in 1962, of the Edwin Franko Goldman Memorial Citation to recognize persons outside the ABA who have rendered conspicuous service in the interest of bands and band music.

• The founding of the North American Band Directors Coordinating Council by ABA Associate member Dr. Forrest McAllister.

• The creation of the John Philip Sousa Foundation by Colonel George S. Howard.

• The inception of The American Bandmasters Association Foundation under the leadership of past president Dr. Harry Begian.

• The accomplishments of the ABA in concert band instrumentation.

• The encouragement and recognition of new music and composers both in and out of The American Bandmasters Association, beginning with the commissions of Dr. Edwin Franko Goldman.

• The more than half a century of dedication to the betterment of bands in every possible way.

• The encouragement of the development of the Japanese Band Directors Association through the efforts of past president Dr. Paul V. Yoder and associate member Walter Volkwein, and the nurturing of the Japanese Band Directors Association through American Bandmasters Association/ Japanese Band Directors Association joint meetings.

by Jennifer Scott, 1995

Edited by Thomas V. Fraschillo, William J. Moody, 2006

References:

Davis, Alan L. (1987) A History of The American Bandmasters Association, doctoral dissertation, Arizona State University.

The Constitution and By-Laws of The American Bandmasters Association.

Revelli, W. D. (1986). Interview with Alan L. Davis, August 14.

Santelmann, W. F. (1953) What The American Bandmasters Association Means to Me.

Sams, L. L. (1986). Untitled History of Bands in the United States, Unpublished manuscript.

Stannard, W. J. (1928). Personal correspondence to Albert Austin Harding, August 3.

Other sources:

Victor Zajec, Retired Dean of the Graduate School at Vandercook College in Chicago.

ABA Public Relations and Publicity Committee, 1995-96: Dr. James Croft, James Curnow, Lt. Col. Frank Dubuy, Emery Fears, Dr. Edwin Kruth, and Frank Wickes.

Musings
Henry Fillmore
By Jack Kopstein

As an American musical icon, Henry Fillmore’s musical career spanned over fifty years. He continuously flooded the band music market under several names. For easy band music, Mr. Fillmore used the name Harold Bennett. He used the names Will Huff and Al Hayes for band music of medium difficulty. For the more difficult repertoire, Henry Fillmore used several names: Gus Beans, Ray Hall, Harry Hartley, and Henrietta Hall! He probably wrote and arranged more band music than anyone in the history of the art. Fillmore’s biographer, Paul Bierley, figures that Fillmore wrote 250 original compositions for band and arranged 750 other pieces. Fillmore wrote or arranged over one thousand pieces of music in his musical career with his work amounting to at least 20 compositions per year, almost 2 compositions per month. How prolific; it remains an incredible feat, particularly since he no doubt wrote, arranged, and copied his own compositions for publication. Fillmore had a wide range of interests in composing and arranging. He wrote hymns, fox-trots, waltzes, marches, and overtures. Fillmore arranged several classic compositions as well as classic reductions. Henry Fillmore was the name most associated with band music in the golden age of concert/parade and military band music in the late 1800′s and early 1900′s.

Henry Fillmore was born in Cincinnati, Ohio in 1881. He was the eldest of 5 children. His father was a partner in the Fillmore Religious music publishing house. Henry Fillmore had a well-trained singing voice, and he sang in church choir. He dabbled with the piano and mastered the flute, violin, and guitar. He also became fascinated with the slide trombone, an instrument his father believed to be too evil for any righteous person to play. The instrument was often associated with street corner musicians whom were known to imbibe “the demon rum”. But Fillmore’s mother prevailed, and he earnestly began to study the trombone. He was educated in Cincinnati public schools. In 1901, Fillmore graduated from a junior college with a “Bachelor of Arts” degree. The succeeding Fall he attended the Cincinnati Conservatory of Music, studying trombone with Charles Kohlman and composition with John Broekhoven. He worked for a time in his Father’s publishing firm but left in 1905 after an argument over his love affair with exotic dancer Mabel May Jones. Love prevailed and Henry proposed to Miss Jones by mail. They were married in St Louis.

Fillmore then began a career in circus music, gaining employment with the Lemon Brothers Circus. Both he and his wife were hired. Thus began an association with American circus life, which continued for several years. By 1910, Fillmore resolved his differences with his father and returned to music publishing. Since his salary was very low and his royalties were not yet large enough to sustain himself, Fillmore began to teach trombone and perform in private groups. At some point he gained sufficient skill in conducting, that he led the Syrian Temple Shrine Band from from 1921 to 1926. In 1927, Fillmore organized his own professional band, which was the last in a long line of great professional bands of its type in America. The great Gilmore and Sousa bands had passed into history when Fillmore began his band in Cincinnati. Fillmore’s band became immensely popular. Fillmore’s band did more than play music. It entertained the audience. He often turned directly around to the audience and conducted the band, finishing numbers with long fermata (holds or pauses), and demonstrating how much he enjoyed the audience’s presence. Henry Fillmore was called “Showman Supreme.”

Fillmore was well ahead of his musical time, in regards to what he considered the entertainment value of a conductor. Many of his conducting characteristics were adopted by American bandmasters years later, including the eminent Major Mark Azzolino who conducted the NORAD band of Colorado Springs during the 1960’s and 70’s.

Fillmore developed cardiac problems and moved to Miami, Florida in 1938, for his health. He had made a decision to retire, but soon he was employed with the University of Miami band. Fillmore ended up traveling extensively in the United States, adjudicating musical competitions and guest conducting. In addition, between 1939 and 1942, he assisted in the development of 32 high school band programs in Florida. Henry Fillmore willed the bulk of his estate to the University of Miami. At the age of 75, he died in 1956.

Henry Fillmore began composing at age 18. His first known publication is the march Higham, named after a line of brass instruments. His last composition was dedicated to the President of Miami University at the time, Jay F.W. Pearson. It was titled the Presidents March. Altogether, Fillmore composed 113 marches. His most well-known marches include “Americans We,” “Men Of Ohio” (excerpted for the Blue Dragon Fight Song), “His Honor,” “The Footlifter,” and “Military Escort.” “Military Escort” has been called the best easy march ever composed. John Philip Sousa told Henry Fillmore that he wished Sousa’s name was on this march. Men Of Ohio was dedicated to President Warren G. Harding, who had played the Alto horn in his Marion, Ohio, high school band.

www.MilitaryMusic.com features several albums containing Fillmore’s work. Such albums include: The Golden Age of the Concert Band, Ceremonial Music (2 Disc Collection), Footlifters!, and also the all-Fillmore album Military Escort, available at iTunes!

The National Game
John Phillip Sousa – 1925

Contributed by Jack Kopstein

With its popular reputation and good wages, the Sousa Band was able to recruit some of the best musicians around.

For 39 years, this large group toured the country by train. A Sousa Band tour would last for many months, often with several performances each day and only a few days off for travel between cities. The band traveled to every corner of the United States and did several European tours and one world tour. Together they traveled more than 1 million miles, and they still managed to find the time for other fun.

The Sousa Band had its own baseball team, and Sousa was often the pitcher. They played against local baseball teams and those of rival bands. Sousa composed the piece featured here, “The National Game.”

Sousa and his Baseball Team

Music and baseball have played an integral role in the life and culture of America for nearly two and a quarter centuries, but it was not until the late nineteenth and early twentieth century when the two forms of popular entertainment became fully entwined as the country’s greatest past times. One of the earliest references to baseball in the United States can be found in a 1791, Pittsfield, Massachusetts ordinance banning the playing of the game within eighty yards of the town meeting house. The earliest music composition dedicated to the sport is J. R. Blogdett’s 1858 song, “The Base Ball Polka.” During the Civil War, it was not uncommon for soldiers from different parts of the country to come together to play games of baseball; this eventually lead to a more unified version of the game and its rules across the country. In 1869, the National Association of Base Ball Players permitted professional play. In 1876, the National Baseball League was formalized, and in 1901, the American Baseball League was created just two years before the two leagues played their first World Series. While baseball quickly evolved into a highly professional sport, the rivalries between followers of both professional and amateur leagues became legendary during those early years.

Sousa and Judge Kenishaw Mountain Landis

Landis was the man with the iron fist that saved baseball after the Black Sox debacle of 1919. Babe Ruth was instrumental in bringing the game back on the field with his mighty clouts.

Sousa wrote the march “THE NATIONAL GAME” at the behest Kenishaw Mountain Landis, the Commissioner of Baseball.
For music and sports scholars and aficionados the years 1900-1920 are considered the golden age of the John Philip Sousa Band and baseball in America. The 1908 World Series is considered the greatest and most controversial baseball series of the twentieth century and the Sousa Band’s World Tour of 1910-1911 is undoubtedly one of the most unique music public relations efforts by a single individual to introduce the early twentieth-century world to American music, culture and baseball. John Philip Sousa’s band also served as his baseball team whenever they had a chance to play a game of baseball against another team from a community in which they were performing a concert. This special exhibition in the Center’s museum combines historical documents, photographs, music manuscripts, sound recordings and artifacts from the John Philip Sousa Music and Personal Papers, Herbert L. Clarke Music and Papers, Paul Bierley Papers, Student Life Archives, University Archives, as well as other newly acquired collections of the Sousa Archives and Center for American Music. In addition the exhibition includes historical documents and rare baseball cards from the Smithsonian Institution’s Sam DeVincent Collection of Illustrated American Sheet Music, Warshaw Collection of Business Americana, and the Ronald S. Gabriel Baseball Memorabilia Collection. Join the staff of the Sousa Archives and Center for American Music as we uncover interesting stories about the John Philip Sousa Band and early baseball.

“The National Game” is available on the Altissimo! album entitled Sousa 3, the third in a series of albums dedicated to the compositions of John Philip Sousa. Click here to see it at the Altissimo website.

With Files from the Smithsonian Institute and Sousa Archives
Contributed by Jack Kopstein

The 1st Co GFG BAND
1st Company Governor’s Foot Guards

Contributed by Jack Kopstein

When the General Assembly of the Colony of Connecticut passed the resolution in 1771, which formed the First Company Governor’s Foot Guard, no mention was specifically made of a band of musicians, although a petition by commandant Captain Samuel Wyllys in the Company’s first year of operation sought reimbursement for monies spent on fifes and drums.  Thus, it is clear that music has always been part of the Foot Guard.  It was not until 1904 however, that the First Company formed its own permanent band with its members a part of the rank and file of the Foot Guard.

Today, band members are enlisted personnel of the Company, full members of the First Company and of the State Organized Militia, who train and drill side by side with the Foot Guard’s infantry unit.

Since 1904, the band has marched parades and performed concerts at many prestigious events, adding the color, ceremony, and precision associated with rich military tradition. In 1907, the newly-formed band performed a concert at  a special ceremony held at Gettysburg, and in 1908, Foot Guard Bandmaster Francis Sutherland performed as guest cornet soloist with John Philip Sousa’s band when they performed at the Foot Guard’s Armory on High Street in Hartford. Through the years, the band has represented the State of Connecticut in several Presidential  inaugurations, at the New England Governors’ Conference, and in escort duties for foreign dignitaries and European royalty.

Led by Captain David Carlson, today’s band performs many concerts, parades, ceremonies, and special events throughout the Northeast. The band also participates frequently in joint concerts with college and public school bands throughout Connecticut.

Recent memorable band performances include the launching and commissioning of the submarine USS Hartford; the 350th Anniversary celebration of York, Pennsylvania; annual appearances at Hartford’s Riverfest; the “Convergence” parade at Lincoln Center in New York, the 225th birthday of Connecticut’s Old State House and July 4th parades in Philadelphia and Washington DC, and its Centennial Concert at the Bushnell Memorial’s Belding Theater.

Of course, every four years the Band participates in the Governor’s Inauguration Day ceremonies as the First Company Governor’s Foot Guard upholds its chartered duties and commitment to the Governor and the State of Connecticut.

For more information, please visit the band’s website at http://www.governorsfootguard.com/

A Brief History of the Marine Band of Allentown
1903-2010
Celebrating Over a Hundred Years of Service to the Community

Contributed by Jack Kopstein

One of the outstanding qualities of Allentown, PA, is its bands and love of band music. The Marine Band of Allentown is an important part of that tradition and our history is a reflection of the musical growth of the city.

The band was first organized on Jan. 19, 1903, when a group of musicians headed by William Wereley met at the Friendly Inn on North 7th Street. Wereley, a fine cornetist, was selected as the first conductor, a position he held with the Liberty Band until it disbanded. The 23 charter members selected the following officers: William Hoover, president; Charles Long, vice president; William Gruver, secretary; William P. Long, treasurer; Peter DeLong, manager; Monroe Harring, assistant manager; and Solon Boyer, George Hoover and Charles Ruhle as trustees.

The band was in popular demand almost immediately, playing 131 engagements in its first year. In 1907, the band became affiliated with the Sons of Veterans Reserve. Led by William Werkheiser, it was known as the 2nd Regiment Band, S.V.R. Through World War I, the band was a popular attraction at all veteran and military functions. Members of the Marine Band performed faithfully with the United States military bands, serving this country in both World Wars and the Korean conflict. One member, Henry Herlicker, was killed while sounding the charge at Sedan, France only one day before the First World War ended.

In May of 1928, the Marine Band purchased the Morris Hoats homestead at 27-29 South 7th Street. The building was remodelled as a rehearsal hall and storage area by Butz and Clader Company at a cost of over $100,000. More than $20,000 was spent on the purchase of new uniforms and instruments. The band was under the direction of Joseph Ricapito.

In October of 1928, the Marine Band became nationally known when it performed for the National Convention of the American Legion in San Antonio, Texas. During this trip, the band played in Buffalo, New York, Chicago, Springfield, Illinois, St. Louis, Missouri, Houston, Galveston, Dallas and Ft. Worth, Texas and Little Rock, Arkansas.

In 1929, the Marine Band Auxiliary was formed, and for a number of years this group supported the band with many fund raising projects.
Tragedy struck in April, 1931, when fire swept through the three-story Band Hall. The loss of instruments, music, and damage to the building was $33,000. Fire insurance and the help of the good people of Allentown soon had the band back on the bandstand.

August 1965, saw the band sell its rehearsal hall to H. Leh and Company because of rising operating costs. The band found a comfortable home in the East Allentown Fire Company building on Walnut Street. In 1994, through the efforts of band president Martin Karess, the band relocated to its present headquarters, “The Band Barn”, on Academy Road in Lehigh Parkway.

The band has had 12 conductors since 1903. The early group (1903-1935) included William Wereley, John Meyers, William H. Werkheiser, Edwin Gangawer, Alvin C. Hoover, Charles Kehm, Vermond Knauss, Theodore Otto and Joseph Ricapito.

In 1935, Albert Marchetto took over the podium. Arguably the most famous of Marine Band leaders, this well known composer and conductor held the baton until 1960. Valgene Routch followed and conducted the band until 1962.

Since 1962, the band has been under the direction of Raymond S. Becker, Jr. A composer in his own right, Mr. Becker is in his 41st year as director, the longest tenure of any Marine Band conductor. During his leadership the band has gained recognition for its musical growth, quality of performance and diversity of programming. Mr. Becker credits the efforts of our talented membership as the most important factor in the organization’s artistic growth.

Over the years, several members of the band are credited with more than 60 years of service. The longest serving active member is Garner Ellis, who joined the band in January 1943. Next on the list is Frank Mesaros, Sr., who joined the band in March of the same year. Current members who have been active for 25 years or more include: Raymond S. Becker, Jr. Robert Billig, Jr., Russell Braun, Robert Danner II, Thomas Heinick, Louis Laubach, Kent Ruch and Burton W. Swayze

Today, thousands of people hear the band in its many venues, which include annual spring and Christmas concerts, West Park, the Festival of Bands, Mayfair, and other locations throughout the Lehigh Valley.

For more information, visit the band’s website here

MUSINGS
Contributed By Jack Kopstein

Marches have a Role in Musical Tastes.

New research is shedding light on why not everyone swoons to the sounds of latest pop sensation Justin Bieber. In a study published in Current Biology researchers have found clues as to why some musical combinations sound so sweet, while others are downright awful. The simple answer is “musical experience.”

The key to the research project is that over the years there have been numerous claims why some people like one sound version over another. One method of measuring the musical significance of a harmonic frequency and in relation to sound and the other quality known as beating.

Thus if we rationalize the March form in the same context we can determine that the March experience began very early in the lives of children. Young people love parades, and throughout their early lives, numerous opportunities arise where they hear, see and beat their feet to an array of marching bands. Santa Claus parades and July 4th are a great example of the March form in action. Later as school students they are exposed to the sports venues where school and songs are played to develop an esprit de corps among the student body.

Nationalism in March music has been one of the most important aspects of musical experience that both children and adults are familiar. National anthems are often written in a dramatic march style. Another consideration is the number of people who have served in their countries military forces. In this area service people are exposed to the sound of drums, trumpets commands and full military bands marching troops in various employments.

The question of course arises which medium of music is an acquired taste. Music that appeals to individuals because of the style, harmonic content, solid beating, drastic counter melodies with dissonances, or simple pleasing harmony. Given for instance the jazz concepts and nuances of Charley Parker in the bebop era of the 1950’s and earlier the drum dexterity of Buddy Rich, we must conclude that this form is an acquired taste. The earlier Dixieland jazz, which it can be said was the origin of improvisation, blue notes, syncopation, and polyrhythm  most likely falls into the area of  universal  enjoyment  and requires no more than it is very pleasing to the ear.

Tonality and substance are words that are bantered around in relation to classical music, particularly found in music of the masters. Here we are often subjected to massive changes in harmonic content and dark nuances, but great symphonic marches have evolved, giving a spirited rise to the street and concert march. . Large works more often than not require a selected taste. Short program type music is understandable but despite simplicity need to provide a pleasing harmony before they enter into the human psyche.

Due to its diversity, popular music in the United States today challenges simple description. The history of popular music in the 1970s and ’80s is basically that of rock music, which has grown to include hundreds of musical styles. New styles such as folk, salsa, new wave, funk, reggae, heavy metal, acid rock, punk rock, rap, hip-hop, acid jazz and world music have developed. Country rock, a fusion of country and western and rock ‘n’ roll, grew popular in the 1970s. A blend of rhythm and blues and gospel music came to be known as soul. Disco, a repetitive dance music, and rap music are direct descendants. Rap developed in the mid-1970s among African-American and Hispanic performers in New York City. It generally consists of chanted, often improvised, street poetry usually accompanied by disco or funk music. The 1990s saw the birth of alternative music or grunge. Techno, a style of dance music that gained popularity in the 1990s, combines computer-generated, disco like rhythms with digital samples. Unfortunately sustainability within the format because of formula writing has hindered learning in modern popular music. However his constant style of the pseudo religious gospel voice inflection together with the use of drum patterns has created an uncomplicated and easily understood learning experience.

Next we examine the learning and experience of the Broadway Musical theatre, a form of theatre combining music, songs, spoken dialogue and dance. The emotional content of the piece – humor, pathos, love, anger – as well as the story itself, is communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Since the early 20th century, musical theatre stage works have generally been called simply, “musicals.”

Musicals are performed all around the world. They may be presented in large venues, such as big budget West End and Broadway theatre productions in London and New York City, or in smaller fringe theatre, Off-Broadway or regional productions, on tour, or by amateur groups in schools, theatres and other performance spaces. In addition to Britain and North America, there are vibrant musical theatre scenes in many countries in Europe, Latin America and Asia.Some famous musicals include Show Boat, Oklahoma!, West Side Story, The Fantasticks, Hair, A Chorus Line, Les Misérables, The Phantom of the Opera, Rent, The Producers and Wicked. Most of the music for the theatre  has had a long lasting effect on audiences. This  translates very easily  into the human memory bank and for which there is common  familiarity along with understanding.  The Sound of Music is the the best illustration of  a show which not only captured the world’s imagination for over fifty years but also introduced several memorable songs such as “Climb Every Mountain,” “Do-Re-Me,” and  “Edelweiss.”

Rendering a meaning for marches in terms of  musical expression is simply “beating  of the ground with feet”. The march has evolved  into a distinct style as well as a distinct form. In other words style may range from the works of Wagner(operatic) and Beethoven(Symphonic) to the numerous street and parade marches(Sousa) which were found to be a necessity for men to be kept in step. Thus the march is strictly rythmical. Strict rhythm is observed  regardless of the melody and counter melody  or accompanyment. We can conclude that the march is by far the simplest musical form to remember and to equate to daily life. The names of the marches often will elude us but we often know the tune.  We can whistle and hum the music,or fragments of it. The most well known perhaps of all marches is Elgar’s Pomp and Circumstance No1 . Most of us find the name of the music or the  openng unrecognizable but it is in the overwhelming melody of what is known as “Land of Hope and Glory” section  that the march takes on a life of its own. Sousa’s march Stars and Stripes Forever has the same effect. Once it begins there is something  our experience tells us that we know it, and we love it. All marches however  do not excite or give us the same feeling of pleasure, however they fit the human desire to beat our feet and feel uplifted.