"Two of the finest Union Army bands to emerge during the American Civil War were the Third Regiment Band of the New Hampshire Volunteer Infantry, recruited from Fisherville (now Penacook), New Hampshire, and its successor, the 2nd Brigade Band, 10th Army Corps. Both bands were stationed near Charleston, South Carolina, and led by Gustavus W. Ingalls, a native of Bristol, New Hampshire. In later years, historians began referring to these bands as the Port Royal Bands because of their deployment to the area near Port Royal, a town not far from Charleston. This book examines the history of the two bands and the men who played in them and discusses the 2nd Brigade Band's contribution to music history—a collection of their music known as the Port Royal Band Books, highly prized by music historians and utilized by modern day Civil War reenactment bands."-- From back cover.

Of the many brass bands that have flourished in Britain and Ireland over the last 200 years very few have documented records covering their history. This directory is an attempt to collect together information about such bands and make it available to all. Over 19,600 bands are recorded here, with some 10,600 additional cross references for alternative or previous names. This volume supersedes the earlier “British Brass Bands – a Historical Directory” (2016) and includes some 1,400 bands from the island of Ireland. A separate work is in preparation covering brass bands beyond the British Isles. A separate appendix lists the brass bands in each county

9th edition, 2019. A comprehensive list of books, articles, theses and other material covering the brass band movement, its history, instruments and musicology; together with other related topics (originally issued in book form in January 2009)

In Opera at the Bandstand: Then and Now, George W. Martin surveys the role of concert bands during the nineteenth and early twentieth centuries in making contemporary opera popular. He also chronicles how in part they lost their audience in the second half of the twentieth century by abandoning operatic repertory. Martin begins with the Dodworth bands in New York City from the 1850s and moves to the American tour of French conductor and composer Louis Antoine Jullien, bandmaster Patrick S. Gilmore’s jubilee festivals, the era of John Philip Sousa from 1892 to 1932, performances of the Goldman Band of New York City from 1920 to 2005, and finally the wind ensembles sparked by Frederick Fennell. He illustrates the degree to which operatic material comprised these bands’ overall repertory and provides detailed programs in the appendixes. Opera at the Bandstand describes how the technological advancements sweeping the country, such as radio, automobiles, recordings, television, and air conditioning, along with changes in demographics, affected the country’s musical life. It will appeal to bandmasters and their players, as well as those with an interest in American history, music, popular culture, and opera.

Investing in the Early Modern Built Environment represents the first attempt to delve into the period’s enhanced architectural investment—its successes, its failures, and the conflicts it provoked globally.