The roar of extreme sound emanates from a football field. It is clear that this is not an ordinary high school marching band playing at a football game. These are Drum and Bugle Corps, boasting an instrumentation of all brass and percussion instruments. This arrangement of instruments can create an enormous amount of sound, sometimes louder than a rock music concert. Due to their thorough auditioning processes, they have a group of musicians, who can play extremely well, all of whom are brought together to entertain the crowds on their three month tour in the summer. Their goal is not just entertainment, but to end up on the top of the order when all is said and done at the championships.
In 1972, several Drum and Bugle corps, who wanted to perform competitively against each other, embarked on a venture to create their own rules of performance. The original rules were set forth by the American Legion and Veterans of Foreign Wars posts, from whom competitive Drum Corps w!as given birth. The competing units had little to say in any modification of rules. From this new coalition, Drum Corps International (DCI) arose. The Madison Scouts, one of these charter members of DCI, were originally formed as a division of a Boy Scout troop in 1938, so that Madison would have their own Drum and Bugle Corps to resemble the Racine Scouts Corps. Each year 125 men, ages sixteen to twenty-one, come together for three months, practicing an average of eight hours every day in the summer, to put together the production for the coming competitive season.
Each year the Madison Scouts thrill audiences with their talent and power, creativity, and an emphasis on entertainment to consistently become one of the crowds' favorite corps.Amazing us with the sound they can generate, the Madison Scouts are known as "The guys who can blow the corks right out of their spit valves". This is an unattainable feat, unless you are using tremendous amounts of air and pressure most professional players cannot do this. The Madison Scouts are noted for tapping into this unbridled power which their musicians possess. They utilize extreme variation in dynamic levels.
Like adjusting the volume on a stereo, this is how loud and soft the ensemble gets as a whole. They create an atmosphere on the football field which draws in the audience. Their soprano bugles are renowned for pushing the limits of their playable range by not only playing high "C", but going further to play high "G" above high "C".
Drum Corps International (DCI) defines drum corps has a drum and bugle musical marching unit that has only brass, percussion instruments and color guard. DCI is considered a specialized marching band (DCI parents: About drum corps, n.d).
A key theme in William Faulkner’s novel The Sound and the Fury is the deterioration of the Compson family. May Brown focuses on this theme and explains that Quentin is the best character to relate the story of a family torn apart by” helplessness, perversion, and selfishness.” In his section, there is a paradoxical mixture of order and chaos which portrays the crumbling world that is the core of this novel.
What event brings a crowd to a mega sized event that roars louder than a concert? How this phenomena became one of the most popular sports that involves numerous amount of physicality? To answer both questions only requires two words.
The marching band is directed by Kathleen Jacoby, she started managing the band six years ago. When being interview by a local newspaper, she describes how she felt when she started managing the band. According to Jacoby, “The band director I replaced had been here 30 years and it was very difficult to replace a legend.” She goes on to explain, “The Herndon community was suppor...
This novel revolves around the rise and the fall of the aristocratic 19th century Southern Compsons that advocated conventional Southern values. In that dynamism and the muting family norms, the rival upsurge was the changing role of men and women. This is true, as men used to enjoy their authority, dominance, power, masculinity, valiancy, virtuous strength, determination, and courtliness over women and in the society while the role played by the women was similar to putting a showpiece in the form of feminine purity, elegance, and chastity. Women’s role was subjected to mere child bearing and continuing the family name.1
... that from my offspring, but I am.” These are the words of Mrs. Compson from the final chapter when she learns that Miss Quentin has run away. She assumes that no harm would come come to her as she is aristocratic and has special privelages with God. This quote also gives evidence that she knows that her children do not consider her to be a real mother.
band's sometimes classical sound. Leroi plays a Haynes closed hole C foot flute, a Yamaha
Three little boys watch wearily and fearfully as their sister shimmies quickly up a tree to peer through the window of a dilapidated Southern farmhouse. Our attention focuses neither on her reaction to the festivities commencing in the house, nor on the danger suspended nervously in the dusky air as the tiny image worms up the tree trunk. Sensing the distress apparent in the boys’ words and actions, our eyes rivet to the same thing that fills their faces with apprehension—the dark and muddied stain of filth firmly planted on the bottom of the little girl’s underpants.
George Helmholtz, as the head of the music department at Lincoln High School, is very determined with his regular students and the gifted musicians of the band. Each semester and year at school he dreams of “leading as fine a band as there was on the face of the earth. And each year it came true”. His certainty that it was true was because he believed there was no greater dream than his. His students were just as confident and in response, they played their hearts out for them. Even the students with “no talent played on guts alone” for Helmholtz.
When society envisions a Wind Ensemble, talented musicians, grand music halls, and difficult arrangements typically come to mind. However, a modern-day Wind Ensemble includes a variety of musicians,
In the Grapes of Wrath, Steinbeck uses intercalary chapters to provide background for the various themes of the novel, as well to set the tone of the novel".
Marching bands became extensively throughout the nineteenth century due to the surplus drums and brass instruments formerly used by the military after the civil war, especially amongst black and Creole musicians. Thus, the syncopated polyrhythm of African music was mixed with traditional marching music and other popular musical styles, and became...
William Faulkner's background influenced him to write the unconventional novel The Sound and the Fury. One important influence on the story is that Faulkner grew up in the South. The Economist magazine states that the main source of his inspiration was the passionate history of the American South, centered for him in the town of Oxford, Mississippi, where he lived most of his life. Similarly, Faulkner turns Oxford and its environs, "my own little postage stamp of native soil," into Yoknapatawpha County, the mythical region in which he sets the novel (76). In addition to setting, another influence on the story is Faulkner's own family. He had three brothers, black servants, a mother whose family was not as distinguished as her husband's, a father who drank a lot, and a grandmother called Damuddy who died while he was young. In comparison, the novel is told from the point of view of the three Compson brothers, shows the black servant Dilsey as a main character, has Mrs.! Compson complain about how her family is beneath her husband's, portrays Mr. Compson as a alcoholic, and names the children's grandmother Damuddy who also dies while they are young. Perhaps the most important influence on the story is Faulkner's education, or lack thereof. He never graduated from high school, let alone college, and in later life wryly described himself as "the world's oldest sixth grader." He took insistent pride in the pre-intellectual character of his creativity, and once declined to meet a delegation of distinguished foreign authors because "they'd want to talk about ideas. I'm a writer, not a literary man" (76). In writing The Sound and the Fury, Faulkner pays no attention to normal literary work. He often uses incoherent and irrational phrases to bring the reader into the minds of the characters. This background, together with a believable plot, convincing characterization and important literary devices enables William Faulkner in The Sound and the! Fury to develop the theme of the regression of the family. The structure of The Sound and the Fury leaves much to be desired. First of all, the time sequence is chaotic and only leads to confusion. The first section is told from the point of view of a thirty three year old idiot, Benjy Compson, who can tell no difference between the past or present. The Benjy section is ve...
“The Sound and the Fury” is a novel full of literary devices used to portray the crazy lives of the Compson family. Symbolism is used heavily throughout, and helps to explain what goes through each character’s mind as they trudge through many life experiences. The two symbols that stuck out the most would have to be the clock symbolizing time, and Dilsey symbolizing Jesus.
... pitch, and embouchure. It’s merely the mastery of these three principles that requires practice and patience. The reward is understanding how to play what is, in my opinion, the most beautiful of band instruments. The enemy is discouragement. Yet as Amy Duncan, my unintentionally-inspirational band teacher director, would say, “Every wrong note you play is behind you. Music is in time, and time never stops. It always moves forward.”