Army Band Research Articles

육군 간부의 조직 촉진조건이 직무만족에 미치는 영향 －군악대를 중심으로

This study was conducted to determine the effect of organizational facilitating conditions on job satisfaction of Army officers. For this purpose, correlation and multiple regression analyses were conducted to determine the relationship between organizational facilitating conditions and job satisfaction among military band officers and non-commissioned officers of the Army, and independent samples t-test and one-way analysis of variance (ANOVA) were conducted to determine the differences in job satisfaction according to demographic and organizational characteristics of the army band. As a result of the analysis, first, among the sub-components of organizational facilitating conditions, only educational facilitating conditions were found to have a positive and significant effect on job satisfaction. These results support previous research that the burden of teaching work negatively affects organizational commitment and positive attitudes, and that on-the-job training promotes professional development, which in turn affects job satisfaction. Therefore, it is urgently necessary to provide professional training conditions for band enlisted soldier, as well as to expand the number of officers who can provide training and guidance to band enlisted soldier and share the workload. In addition, if it is difficult to create a separate educational institution within the military due to the very small size of the band department, it is also necessary to create conditions where training can be conducted from time to time by utilizing civilian personnel to solve the educational deficiency. In addition, as the number of active-duty enlisted soldiers has been plummeting in recent years, a policy of expanding the number of officer’s instead of reducing the size of the enlisted soldier will improve the efficiency of their main specialties while sharing the training tasks. Second, while demographic characteristics did not affect job satisfaction, position and status were found to have a significant effect on job satisfaction among band organizational characteristics. This is consistent with previous studies that have shown that job satisfaction is significantly higher for commanders compared to staff officers. Therefore, it is necessary to seriously examine whether the structure of army bands and the division of duties are overly biased toward the staff to improve the work of the staff. In addition, the imbalance in job satisfaction between non-commissioned officers and officers should be carefully diagnosed as a factor, and measures should be taken to increase mutual job satisfaction and eliminate the gap between positions and status. This study is significant in that it is the first study to apply the organizational facilitating conditions to a military organization.

Injuries and Factors Associated with Injuries Among U.S. Army Band Musicians.

An electronic survey was administered to active-duty U.S. Army Band musicians. The survey collected demographics, personal characteristics, Army Physical Fitness Test performance, occupational demands, health behaviors, and injuries from October 2017 to December 2018. Survey responses were combined with medical and physical fitness performance records. Descriptive statistics were reported and factors associated with injuries were investigated. There were 465 Army Band members in this population, with approximately half (49%) completing the survey. Most survey respondents (81%) reported an injury in the past year, which they predominantly attributed to overuse (54%). Leading reported activities resulting in injury included running for physical training (21%), repetitive movements while playing an instrument (11%), and standing while playing (11%). A majority of survey respondents (60%) also had a medical encounter for an injury. Factors significantly associated with injury among men were lower aerobic fitness and higher body fat percentage; additional unadjusted factors associated with injury among all Army Band soldiers included female sex, older age, and longer periods of marching and standing while playing. Injury prevention initiatives for Army Band musicians should focus on the reduction of overuse and repetitive motion injuries. Suggested prevention strategies include balanced physical training, ergonomic adjustments, rehearsal breaks, and leadership support for injury prevention efforts.

Singing the English: Britain in the French Musical Lowbrow, 1870–1904 by Hannah L. Scott

Reviewed by: Singing the English: Britain in the French Musical Lowbrow, 1870–1904 by Hannah L. Scott Claire Moran Singing the English: Britain in the French Musical Lowbrow, 1870–1904. By Hannah L. Scott. London and New York: Routledge. 2022. ix+ 254 pp. £96. ISBN 978-0-367-81543-1. Scholarship in nineteenth-century French Studies has, in recent years, increasingly highlighted the need to address the complexity of everyday lived experience and unravel the myths which have shaped our perceptions of the period. Hannah L. Scott's remarkable study of British popular music in late nineteenth-century France offers a fascinating glimpse into French cultural life in an extraordinary period of the country's history. The focus on British music in a study concerned with France may, as Scott points out wryly in her Introduction, 'strike the reader with some surprise' (p. 2) since, as the influential French musical theorist François-Joseph Fétis put it, 'the English [are] on the lowest rung of the ladder of musical talent' (p. 2). However, through her engaging, well-documented, and well-illustrated study, Scott makes a compelling case for the influence of British lowbrow music in shaping modern France. Singing the English revalorizes the centrality of popular British music for 'exploring, negotiating and mediating national identity and the importance of Britain in Third Republican society, politics and culture' (p. 12). The book comprises an Introduction, four chapters, and an Epilogue, and also includes a comprehensive appendix of café-concert songs about the English. The Introduction offers a much-needed contextual overview, all the while citing the pervasiveness of representations of les Anglais in French culture, most notably in literature, and Scott calls attention to the many minor and central figures such as the chronically melancholic Lord Ewald of Villiers d'Isle-Adam's L'Ève future, the courageous yet angelic Miss Clifton in Hector Malot's Souvenirs d'un blessé, and the sadistic English femme fatale Clara in Mirbeau's Le Jardin des supplices. The first chapter focuses on comic songs from French popular theatres in which French performers pretended to be English and where 'Englishing up' was the trend. The second explores the phenomenon of the Salvation Army band and its noisy presence on the streets of Paris, while the third discusses the French reception of Celtic folk music and includes analyses of translations and arrangements of songs by Robert Burns, Walter Scott, and Thomas Moore. The last chapter discusses the place of music in French travel writing and emphasizes how 'music and sound become fundamental axes in the French mental conception of British character and culture' (p. 185). Singing the English captures the essence of Britishness through nineteenth-century French eyes. It is both entertaining and illuminating, offering glimpses into a French mindset via a host of intriguing texts and archival documents. Paul Bourget's 1889 description of the aural impression of a Salvation Army band is a case in point: 'suddenly, a blast of trumpets bursts out, accompanied by strange singing. […] [A] man begins a sort of yelled prayer; his head is thrown back, his mouth is twisted, his eyes are turned backwards in his head. He calls out "the Lord, the Lord…". An expression of despair or ecstasy can be seen upon every face' (p. 85). Scott navigates texts and documents such as these with ease and [End Page 141] skill, highlighting the linguistic specificities and visual imaginaire that they draw upon. Overall, her analysis of the popular songs, performances, and traditions that represented Britishness in nineteenth-century France offers important insights into the relationship between France and Britain. It is, as she argues in her Epilogue, a relationship which continues to be influenced by popular music, and she cites the dozens of songs by artists from Mick Jagger to Bertrand Cantat which attempted to 'influence, mock, critique and occasionally praise the outcome of the June 2016 referendum' (p. 227). Singing the English is an excellent book which, in its careful and rigorous interdisciplinary scholarship, shows the importance of the nineteenth century in shaping modern life. Claire Moran Queen's University Belfast Copyright © 2023 Modern Humanities Research Association

Aesthetic Judgments of Live and Recorded Music: Effects of Congruence Between Musical Artist and Piece.

The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants (N = 32) made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece (congruent with the army band) and a non-patriotic piece (congruent with the university band). Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible.

Polish musical life in Great Britain during the Second World War

The present article is the first attempt to provide a comprehensive – as much as the available sources allow – presentation of Polish music in Great Britain during the war, without any claims to completeness. The main institution attracting Poles in London was, practically from the beginning of the war, Polish Hearth, founded by Polish artists, scholars and writers. The Polish Musicians of London association with Tadeusz Jarecki organised classical music concerts and published contemporary works by Polish composers. The organisation was instrumental in the founding of the London Polish String Quartet. The BBC Radio played a huge role in the popularisation of the Polish repertoire and Polish artists, broadcasting complete performances. What became an extremely attractive form of promoting Polish art were the performances of the Anglo-Polish Ballet, founded by Czesław Konarski and Alicja Halama in 1940. The post-war reality meant that most of the scores published at the time were arrangements of soldiers’, historical, folk and popular songs characterised by simple musical means suited to the capabilities of army bands, but conveying the spirit accompanying the soldiers of the Polish Armed Forces during the Second World War. Polish Army Choir established, as the first among such ensembles, on Jerzy Kołaczkowski’s initiative.The author hopes to prompt further studies into the history of migrations of artists and work on monographs on the various composers and performers. Undoubtedly, there is a need to bring this part of our musical culture to light, especially given the fact that interest in Polish music abroad has been growing in recent years.

APA Honors Psychiatrists Who Served in Vietnam

During a wreath-laying ceremony at the Vietnam Veterans Memorial, APA leaders reflected on the role of psychiatrists who supported soldiers in Vietnam.

Study on a Morale Education Plan Focusing on the Use of Army Band : Based on the ASSURE Model

Study on a Morale Education Plan Focusing on the Use of Army Band : Based on the ASSURE Model

Patriots, Prostitutes, and Spies: Women and the Mexican-American War by John M. Belohlavek

Reviewed by: Patriots, Prostitutes, and Spies: Women and the Mexican-American War by John M. Belohlavek Mark Bernhardt (bio) Patriots, Prostitutes, and Spies: Women and the Mexican-American War. By John M. Belohlavek. (Charlottesville: University of Virginia Press, 2017. Pp. 320. $45.00 cloth; $45.00 ebook) John M. Belohlavek sets out to examine how American and Mexican women served their families and countries during the Mexican-American War and responded to the military conflict. He rightly asserts that there is a growing body of scholarship on women's lives during the American Revolutionary and Civil War eras, but women's experiences during the Mexican-American War remain understudied and his objective is to bring "the lives of those who lived in anonymity together with those of the few celebrities" in one volume (p. 18). Alongside the stories of well-known women from the period, such as Susan Magoffin and Jane Storm Cazneau, he also includes those of midwestern mothers fearing for their sons' safety on the frontlines, New Mexico wives trying to keep family businesses operating, and [End Page 534] American and Mexican women who travelled with the armies. The book is divided into eight themed chapters, which provide a diverse range of perspectives. The first discusses American women's opinions of the war. Chapter two describes how Mexican women interacted with Americans and aided the Mexican army. In chapter three, Belohlavek details the experiences of American women who traveled through northern Mexico. Chapter four tells about American women living and working in Mexico, providing services to the American army or having taken jobs in Mexican factories before the war. What female newspaper reporters and editors wrote about the war is the subject of chapter five. Chapter six examines the views American soldiers had of the Mexican women they encountered. Belohlavek analyzes American war-themed literature written by women or about women in chapter seven. He follows this with a similar analysis of poetry and songs produced both in the United States and Mexico in the final chapter. Belohlavek located an impressive array of sources through his research, including diaries, letters, newspaper articles, memoirs, songs, poems, serials, and novels to document how the war impacted women's lives on both sides of the border and the opinions some women expressed about it. However, though he makes the effort to include Mexican women's voices, Mexican women are more often viewed through the eyes of American men, and overall the book provides much more information about American women's views and experiences. There are some minor problems. The author delves into a number of topics that are irrelevant to the book's subject matter. For example, in the introduction he states that "by briefly exploring the political, economic, and social nature of the two countries, we can obtain a clearer picture of how they [Mexico and the United States] came to clash and determine whether a realistic alternative presented itself" (p. 3). Considering that Belohlavek provides only a short summary of the scholarship on the causes of the war and its inevitability with no new insights of his own or explanation of the connection to his [End Page 535] research, it seems unnecessary to address this issue at all. Similarly, while his brief discussion of the quality of Mexican army bands is interesting, he does not demonstrate how this information meaningfully contributes to his study. Such asides at times disrupt the flow of the narrative. There is also a notable contradiction to one of the chapter's arguments. Belohlavek states that most women endorsed the war with Mexico (p. 21). However, he also accepts Peggy Cashion's well-researched findings that indicate most women opposed the war while still supporting the well-being and safety of American soldiers (p. 42). Overall, the book provides much needed research on an understudied topic. There is room for a lot more work in this field, especially concerning the experiences of Mexican women, but Belohlavek's contribution here helps serve as a solid foundation for future studies. Mark Bernhardt MARK BERNHARDT teaches history at Jackson State University. He is the author of several articles about the press coverage of the Mexican-American War. Copyright...

The Soldier-Musician

This article explores career opportunities in the United States Army available to recent high school or college graduates trained as instrumental musicians. Two current U.S. Army musicians share their journeys to the military ranks. The recruitment process, training requirements, professional opportunities, and day-to-day life of a musician in a U.S. Army Band are examined. These two soldiers offer their perspectives on the pros and cons of music careers in the military and make several suggestions for aspiring soldier-musicians. This article also addresses effects of recent budgetary cutbacks on Army musicians and ensembles.

Footwear in the United States Army Band: Injury incidence and risk factors associated with foot pain

Background Footwear characteristics can influence, fatigue, comfort, injuries and energy cost. Members of the United States Army Band have hundreds of performances a year and these performances often include prolonged standing and marching in footwear. Objective The purposes of this paper are to: (1) determine injury rates before and after wearing a shoe with presumed greater cushioning and ventilation among US Army Band members, and (2) identify risk factors associated with foot pain/discomfort. Methods To potentially reduce injuries and improve comfort, 112 band members received shoes with an advertised increase in cushioning and ventilation. Results Injury incidence determined from medical records was 55% in the year before and 57% in the year during which band members wore the new shoes ( p = 0.78). Higher risk of foot pain was associated with band unit (odds ratio (OR Ceremonial unit/other units = 8.6), 95% confidence interval (CI): 1.2–60.2), shoe cushioning rating (OR poor/good = 11.8, 95% CI: 1.5–89.7), orthotic use (OR yes/no = 18.5, 95% CI: 2.9–120.3), and how often band members replaced their shoes (OR ≤1 year/>2 years = 11.5, 95% CI: 1.4–95.4). Conclusions The new shoes did not lower injury incidence, although specific risk factors associated with foot pain/discomfort were identified. To potentially increase the cushioning and comfort, insoles may be considered.

Avaliação vocal e cervicoescapular em militares instrumentistas de sopro

OBJETIVO: Este estudo transversal e prospectivo objetivou avaliar qualidade vocal, respiração e região cervicoescapular em instrumentistas de sopro integrantes da Banda Musical do Exército. MÉTODOS: Foram estudados 42 sujeitos do gênero masculino, militares, com idades entre 20 e 45 anos, divididos em: Grupo Experimental, com 30 instrumentistas de sopro, e Grupo Controle, com 12 instrumentistas de percussão. Todos passaram por entrevista; avaliação vocal - registro da voz e análise perceptivo-auditiva com uso da escala GRBASI; avaliação do tipo respiratório; avaliação fisioterapêutica da região cervicoescapular - inspeção visual dos perfis anterior, lateral e posterior, palpação dos músculos trapézio fibras-superiores, esternocleidomastoídeos, escalenos e base de occipital; e testes de mobilidade cervical e de encurtamentos musculares. RESULTADOS: Não houve diferença entre Grupo Experimental e Controle quanto à presença de queixas vocais; os sujeitos do Grupo Experimental apresentaram mais sintomas laríngeos e relataram mais dor em músculo trapézio e região cervical quando comparados aos sujeitos do Controle. Os sujeitos do Grupo Experimental apresentaram maior alteração nos parâmetros vocais tensão e instabilidade do que os sujeitos do Grupo Controle. Constatou-se maior incidência da respiração costodiafragmático-abdominal no Grupo Experimental. Não houve diferença entre os grupos estudados quanto à postura, encurtamentos musculares e mobilidade cervical; porém o Grupo Experimental apresentou mais dor à palpação em músculo trapézio - fibras superiores. CONCLUSÃO: Os militares instrumentistas de sopro apresentaram alterações vocais e da musculatura cervicoescapular e necessitam de ações de promoção à saúde vocal e postural.

Coming of age in uniform: The Foundling Hospital and British army bands in the twentieth century

This article examines the experiences of former pupils at the Foundling Hospital who served as British Army regimental bandsmen. It is based on interviews conducted by the author, published written accounts and documentary evidence in the Foundling Hospital Archives. The formative experience of institutionalisation at the Foundling Hospital is considered in the first section. The second section describes the transitional process of leaving the Hospital and enlisting in the Army. The final section discusses institutional experiences in the Army and how these affected the former pupils' life choices. It will be argued that the Hospital's authoritarian regime placed significant limitations on the children's social horizons and produced a strong orientation toward institutional life. It will be shown however, that the experience of serving in Army bands at a time of tremendous social change allowed former pupils featured in this study to make alternative life choices which short circuited this institutional bias.

Ocorrência de sinais e sintomas de disfunção temporomandibular em músicos

OBJETIVO: Verificar a prevalência de sinais e sintomas de disfunção temporomandibular em grupos de músicos profissionais, intérpretes de instrumentos de sopro e de cordas. MÉTODOS: Participaram 92 músicos, com idades entre 18 e 58 anos. Foram entrevistados 70 músicos intérpretes de instrumentos de sopro (76,08%) e 22 músicos intérpretes de instrumentos de cordas (23,91%) pertencentes à Orquestra Sinfônica do Paraná, à Banda da Polícia Militar do Paraná ou à Banda do Exército. Foi realizada entrevista que constou de questões referentes à identificação, tempo de prática do instrumento e presença de sinais, sintomas e hábitos relacionados às disfunções temporomandibulares. Comparou-se as respostas dos músicos por meio do teste de diferença de proporções. RESULTADOS: Trinta e nove músicos (42,3%) percebem que rangem e/ou apertam os dentes, 23 (25%) reportaram sentir dor na articulação temporomandibular, 39 músicos (42%) relataram escutar ruídos na articulação temporomandibular, 37 (40%) sensação de plenitude auricular e 33 (35%) presença de zumbido. Não houve diferença significativa entre os instrumentistas de sopro e de corda no que se refere à presença de sinais e sintomas de disfunção temporomandibular. CONCLUSÃO: A somatória dos fatores apresentados coloca os praticantes de determinados instrumentos musicais como um grupo suscetível a apresentar sinais e sintomas de disfunção temporomandibular, incluindo sintomas auditivos, podendo tal prática ser considerada tanto um fator desencadeante, quanto um fator agravante ou perpetuador de um problema já existente.

Injuries and injury risk factors among members of the United States Army band

This project documented injuries in the professional musical performers of the US Army Band and used a multivariate approach to determine injury risk factors. Injuries were obtained from a medical surveillance database. Administrative records from the Band provided fitness test scores, physical characteristics, performing unit (Blues, Ceremonial, Chorale, Chorus, Concert, Strings), and functional group (strings, winds, keyboard, vocal, percussion, brass). A questionnaire completed by 95% of the Band (n=205) included queries on practice time, physical activity, tobacco use, and medical care. One or more injuries were diagnosed in 44 and 53% of Band members in the years 2004 and 2005, respectively. In univariate analysis, higher injury risk was associated with higher body mass index (BMI), less physical activity, prior injury, unit, functional group, and practice duration. In multivariate analysis, less self-rated physical activity, a prior injury, and functional group were independent risk factors. In the US Army Band, about half the performers had a medical visit for an injury in a 1-year period and injury risk was associated with identifiable factors.

Musical Athletes

Like athletes, musicians and vocalists spend considerable time developing and improving specific physical skills and this may increase their risk of injury. PURPOSE: This project examined injury incidence and injury risk factors in professional instrumentalists and singers. METHODS: Subjects were 217 Soldiers who were highly skilled, full time, musicians or vocalists in the US Army Band (mean age±SD=39±8 years). Injuries occurring in a single year were obtained from a medical surveillance database. Demographics and performing group (i.e., strings, keyboard, winds, brass, percussion, or vocal) were obtained from administrative databases. Direct measurements included weight, height, maximum push-ups in 2 minutes, maximum sit-ups in 2 minutes, and a two-mile run for time. Body mass index (BMI) was calculated as weight/height2. Self-reported physical activity (SRPA) was obtained from a questionnaire. For data analysis, weight, height, BMI and fitness scores were converted to four approximately equal sized quartiles (Q); six age groups were established. Univariate analysis used the chi-square test to compare injury incidence in discrete groups of each factor. Risk ratios (RR) and 95% confidence intervals (95%CI) were calculated. Multivariate analysis was conducted using logistic regression including all factors reaching p<0.10 in the univariate analysis. RESULTS: Fifty-two percent of the band members experienced one or more injuries during the year. In the univariate analysis, factors associated with injury incidence included BMI (RR (highest Q/lowest Q) =1.6, 95%CI=1.0-2.5), performing group (RR (strings/winds) =2.4, 95%CI=1.4-4.1), and SRPA (RR (low activity/high activity) =1.6, 95%CI=1.1-1.9). Not associated with injury incidence were gender (p=0.86), marital status (p=0.53), educational level (p=0.71), age group (p=0.58), height (p=0.20), weight (p=0.53), push-ups (p=0.89), sit-ups (p=0.51), and 2-mile run (p=0.86). In the multivariate analysis, performing group and SRPA were independent risk factors for injuries. CONCLUSIONS: One-year injury incidence was 52% in the US Army Band. Risk factors for injuries in this group include BMI, performing group, and SRPA. Low- fit band member might benefit from more physical activity.

Meet the Musicians: From Prodigies (Or Not) to Pros (review)

Reviewed by: Meet the Musicians: From Prodigies (Or Not) to Pros Elizabeth Bush Nathan, Amy Meet the Musicians: From Prodigies (Or Not) to Pros. Holt, 2006[160p] illus. with photographs ISBN 0-8050-7743-X$17.95 Reviewed from galleys R Gr. 4-8 Just when budding musicians are spinning orchestral dreams or worrying that a professional career is beyond reach come these profiles of fifteen members of the New York Philharmonic, emphasizing their childhood experiences in musical education. Yes, a few were the prodigies that help fashion music lore and make the aspirations of humbler students seem remote, but most simply learned to play, learned to love playing, and kept nose to grindstone until they won their orchestra chairs. Many players did not appear particularly gifted early on; many switched instruments until they found their perfect match; many could not afford to own their first instruments; and most continue to enjoy a wide range of nonmusical activities and prefer to listen recreationally to non-classical music. Nathan has a keen eye for surprising detail: percussionist Christopher Lamb can invent an instrument when a piece calls for it; flutist Mindy Kaufman records movie soundtracks on the side; trumpet player Philip Smith still joins in with a Salvation Army band. Each article includes a trio of sidebars: "Inside Scoop" discusses the pros and cons of the instrument; "Practice Tip" offers advice on how to manage practice time; "Concert Watch" alerts concertgoers to a player's unique activity onstage. Here's an upbeat title that should find its way into every core music collection. Copyright © 2006 The Board of Trustees of the University of Illinois

Hit me, Fred: recollections of a sideman

With Hit Me, Fred , sensational sideman Fred Wesley Jr. moves front and center to tell his life story. A legendary funk, soul, and jazz musician, Wesley is best known for his work in the late sixties and early seventies with James Brown and as the leader of Brown’s band, Fred Wesley and the JB’s. Having been the band’s music director, arranger, trombone player, and frequent composer, Wesley is one of the original architects of funk music. He describes what it was like working for the Godfather of Soul, revealing the struggle and sometimes stringent discipline behind Brown’s tight, raucous tunes. After leaving Brown and the JB’s, Wesley arranged the horn sections for Parliament, Funkadelic, and Bootsy’s Rubber Band, and led Fred Wesley and the Horny Horns. Adding his signature horn arrangements to the P-Funk mix, Wesley made funk music even funkier. Wesley’s distinctive sound reverberates through rap and hip-hop music today. In Hit Me, Fred , he recalls the many musicians whose influence he absorbed, beginning with his grandmother and father—both music teachers—and including mentors in his southern Alabama hometown and members of the Army band. In addition to the skills he developed working with James Brown, George Clinton, Bootsy Collins, and the many talented musicians in their milieu, Wesley describes the evolution of his trombone playing through stints with the Ike and Tina Turner Revue, Hank Ballard, and Count Basie’s band. He also recounts his education in the music business, particularly through his work in Los Angeles recording sessions. Wesley is a virtuoso storyteller, whether he's describing the electric rush of performances when the whole band is in the groove, the difficulties of trying to make a living as a rhythm and blues musician, or the frustrations often felt by sidemen. Hit Me, Fred is Wesley’s story of music-making in all its grit and glory.

Beyond the Ethics Committee: Representing Others in Qualitative Research

While university ethics committees codify ethical standards for 'research with human subjects', qualitative researchers grapple with shifting and elusive problems which remain beyond the ambit of effective legislation. In this article I examine some of these problems in the light of my own experience in conducting a participant observation study of soldier-musicians in an Australian army band. While there is a considerable literature on the ethical conundrums met in fieldwork, there is less about the problems of writing about other people. Yet, in their writing, qualitative researchers have a considerable responsibility for what they say about their subjects. Hence, representing others in qualitative research is my focus. I conclude that just as in human social life, where rules for ethical behaviour reside in the conscience of individuals, so too ethical problems in qualitative research can be addressed only in the context of our personal moral codes.

Soldier-Musicians in an Australian Army Band: Understanding the Lived Experience of Gender

Cet article se penche sur la facon dont les soldats musiciens Australiens concilient leurs differents statuts de militaires, de musiciens et d'hommes. Deja a la peripherie d'une institution masculine en raison de leur activite les tenant eloignes du combat, les soldats musiciens sont egalement en marge de la profession musicale de la vie civile. De ce double fait, ils considerent l'introduction de femmes au sein des orchestres militaires comme une menace a la fois contre leur identite sexuelle au sein de l'armee et contre la reconnaissance de leur competence specifique en musique dans ce meme corps

Bamboula!: the life and times of Louis Moreau Gottschalk

In Bamboula!, S. Frederick Starr presents an authoritatively researched, engagingly written biography of America's first authentic musical voice. Starr paints for us a striking portrait of Louis Moreau Gottschalk's childhood in 1830s New Orleans, a city madly devoted to music, where opera companies, music halls, fiddlers and banjo-pickers, church choirs, and Army bands all contributed to what Starr calls most stunning manifestation of Jacksonian democracy in the realm of culture to be found anywhere in America. We meet Gottschalk's French-speaking maternal grandmother and also his African-American nurse Sally, both of whom regaled him with the songs, legends, and lore of the Creole world, which would inform some of his finest music. We travel with to Paris, where he was a sensation, playing in fashionable salons for the likes of Lamartine, Gautier, and Dumas; and we join his flight from the Revolution of 1848 to a town north of Paris, where he composed his first great works - Bamboula, La Savane, Le Bananier, and Le Mancenillier - all published over the name Gottschalk of Louisiana. Starr describes Gottschalk's successful return to New York City in the early 1850s, where he enjoyed a degree of popularity never before accorded to an American performer or composer, becoming our first homegrown concert idol. But Starr also examines the life-long struggle between the Catholic and earnest Protestant champions of serious music, a battle that pitted the austere values of northern Europe against the brighter sensibilities of Paris, Louisiana, and the West Indies.