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On Saturday, November 14, 1944, radio listeners heard an enthusiastic broadcast announcer describe something they had never heard before: Women singing the Marines Hymn instead of the traditional all-male United States Marine Band. The singers were actually members of its sister organization, The Marine Corps Womens Reserve Band of Camp Lejeune, North Carolina. Today, few remember these all-female military bands because only a small number of their performances were broadcast or pressed to vinyl. But, as Jill Sullivan argues in Bands of Sisters: U.S. Womens Military Bands during World War II, these gaps in the historical record can hardly be treated as the measure of their success.The novelty of these bandsinitially employed by the U.S. military to support bond drivesdrew enough spectators for the bands to be placed on tour, raising money for the war and boosting morale. The women, once discharged at the wars end, refused to fade into post-war domesticity. Instead, the strong bond fostered by youthful enthusiasm and the rare opportunity to serve in the military while making professional caliber music would come to last some 60 years. Based on interviews with over 70 surviving band members, Bands of Sisters tells the tale of this remarkable period in the history of American women.Sullivan covers the history of these ensembles, tracing accounts such as the female music teachers who would leave their positions to become professional musiciansno easy matter for female instrumentalists of the pre-war era. Sullivan further traces how some band members would later be among the first post-war music therapists based on their experience working with medical personnel in hospitals to treat injured soldiers. The opportunities presented by military service inevitably promoted new perspectives on what women could accomplish outside of the home, resulting in a lifetime of lasting relationships that would inspire future generations of musicians.

The Tennessee Tech Tuba Ensemble (TTTE) is one of the most successful performing collegiate ensembles in history, with an enviable record of 25 recording projects, seven Carnegie Hall appearances, two Worlds Fairs performances, numerous national and international conference engagements, and a performance history in venues like Preservation Hall in New Orleans, the Spoleto Festival in Charleston, and the Kennedy Center in Washington. The Tennessee Tech Tuba Ensemble and R. Winston Morris: A 40th Anniversary Retrospective lists all of these events and more. It tells how Morris founded an ensemble comprised only of tubas and euphoniums (the underdogs of the orchestra) and catapulted it to international recognition, establishing and defining the standards for tuba ensemble performance practices and creating a monumental influence on both the tuba and music education throughout the world.The book provides a biography of Morris that includes the influences that led to the development of the TTTE, and it describes the early years of the ensemble and its development as one of the most recognizable groups of its kind. Several lists of reference information specific to Morris and the groupand general to tuba and euphonium musicare offered. Details about concerts, performances, activities, and recordings of the ensemble are presented, as well as recordings, awards, honors, and publications by Morris. Former members of the group are listed and pictured in more than 85 photos comprising a photographic history. Winston and the TTTE are responsible for the composition and arrangement of more music for the tuba than any other single source, and a comprehensive list of those works is supplied here.

A History of the Trombone, the first title in the new series American Wind Band, is a comprehensive account of the development of the trombone from its initial form as a 14th-century Medieval trumpet to its alterations in the 15th century; from its marginalized use in a particular Renaissance ensemble to its acceptance in various kinds of artistic and popular music in the 19th and 20th centuries. David M. Guion accesses new and important primary source materials to present the full sweep of the instruments history, placing particular emphasis on the people who played the instrument, the music they performed, and the relevant cultural contexts.After a general overview, the material is presented in two main sections: the first traces the development of the trombone itself and examines the literature written about it, and the second investigates the history of performance on the instrumentthe ensembles it participated in, the occasions in which it took part, the people who played it, and the social, intellectual, political, economic, and technological forces that impinged on that history. Guion analyzes the trombones place in countries all over the world and in many styles of music, such as art, opera, popular, and world music. An appendix of transcriptions of selected primary source documents, including translations, and a comprehensive bibliography round out this important reference. Fully illustrated with more than 80 images, A History of the Trombone appeals not just to trombonists but to students, scholars, and fans of all musical instruments.