midwalesman
Member
It has been a long time since I ventured on this forum; having bored the living pants off people for years before that. Anyway, apologies now for returning to my modus operandi.
Many years ago I went to a Brass Band England conference at the Bridgewater Hall in Manchester and listened to Howard Snell comment on banding and its idiosyncrasies. It was in its relative infancy at that point. Not many bands as members, small steps and areas for development and not much of a budget.
Fast forward a few years and I decided to give BBE another chance, as being a member through Lindley made it a free entry (being a tight Yorkshire/Cardi!). The development of all aspects of the organisation was staggering and the energy and opportunities they offer to bands really interested me. The workshops, the BandSafe etc etc show that there is willing from the organisation to be as inclusive as possible and offer individuals and bands opportunities to develop and get the best out of a hobby.
Perhaps the main reason, if I'm honest, to attend the conference was to listen to Professor Edward Gregson and his views on brass band contests (and later copyright). Over the years I have listened to many musicians that have musical experience outside of our hobby, for example Elgar Howarth and Howard Snell, who have presented their views on aspects of banding. These have, unsurprisingly, been fairly consistent in their opinions.
Some interesting comments or quotes (paraphrased here) by Gregson and later by others:
a) "Contesting has reached new heights of obsession and distraction"
b) Contests have become the 'be all, end all' of everything.
c) Contesting has 'archaic traditions'
d) Contest music has become 'virtuosic for the the sake of virtuosic' leanings.
e) Contest composer gene pool needs to broaden with more people from outside the movement.
f) Contests, organisers, players and conductors have an 'in-built' fear of a piece being a dud.
g) Contest music and the restraints of what organisers want/tradition and fear of the 'dud' means styles are formulaic.
h) Pushing the boundaries of music in general, from non band composers, has diminished since the 1970s and Elgar Howarth.
i) The traditional concert programme structure is becoming outdated.
j) Adjudication should be open.
k) 'The time of set test piece contests are drawing to a close'.
l) Top British bands have a responsibility to inspire and educate youth.
m) The number of players in a contest should be changed (or abolished)
n) All band contests should be run by a central organisation.
o) The Championship and lower section finals should be in one location on the same weekend.
p) In Norway some of the players in the Championship section can also play in the band where they started playing (in a lower section I presume).
q) All bands should be compulsory members of said central organisation.
These are the views expressed at the conference. There were others, but I thought I would just throw this out there.
Many years ago I went to a Brass Band England conference at the Bridgewater Hall in Manchester and listened to Howard Snell comment on banding and its idiosyncrasies. It was in its relative infancy at that point. Not many bands as members, small steps and areas for development and not much of a budget.
Fast forward a few years and I decided to give BBE another chance, as being a member through Lindley made it a free entry (being a tight Yorkshire/Cardi!). The development of all aspects of the organisation was staggering and the energy and opportunities they offer to bands really interested me. The workshops, the BandSafe etc etc show that there is willing from the organisation to be as inclusive as possible and offer individuals and bands opportunities to develop and get the best out of a hobby.
Perhaps the main reason, if I'm honest, to attend the conference was to listen to Professor Edward Gregson and his views on brass band contests (and later copyright). Over the years I have listened to many musicians that have musical experience outside of our hobby, for example Elgar Howarth and Howard Snell, who have presented their views on aspects of banding. These have, unsurprisingly, been fairly consistent in their opinions.
Some interesting comments or quotes (paraphrased here) by Gregson and later by others:
a) "Contesting has reached new heights of obsession and distraction"
b) Contests have become the 'be all, end all' of everything.
c) Contesting has 'archaic traditions'
d) Contest music has become 'virtuosic for the the sake of virtuosic' leanings.
e) Contest composer gene pool needs to broaden with more people from outside the movement.
f) Contests, organisers, players and conductors have an 'in-built' fear of a piece being a dud.
g) Contest music and the restraints of what organisers want/tradition and fear of the 'dud' means styles are formulaic.
h) Pushing the boundaries of music in general, from non band composers, has diminished since the 1970s and Elgar Howarth.
i) The traditional concert programme structure is becoming outdated.
j) Adjudication should be open.
k) 'The time of set test piece contests are drawing to a close'.
l) Top British bands have a responsibility to inspire and educate youth.
m) The number of players in a contest should be changed (or abolished)
n) All band contests should be run by a central organisation.
o) The Championship and lower section finals should be in one location on the same weekend.
p) In Norway some of the players in the Championship section can also play in the band where they started playing (in a lower section I presume).
q) All bands should be compulsory members of said central organisation.
These are the views expressed at the conference. There were others, but I thought I would just throw this out there.