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The French Revolutionary and Napoleonic Wars were experienced by the ears as much as the eyes, yet the auditory dimensions of these conflicts have received limited attention from historians. This article interrogates the reach and reception of military music in wartime Britain and Ireland by drawing on a wealth of evidence from memoirs, diaries, press reports and regimental archives. It demonstrates that military bands provided sought-after entertainment at myriad public events and staged open-air concerts for socially diverse audiences. The article interprets martial music-making as an important civil-military interface and a potent form of cultural propaganda: a means of inculcating patriotism and asserting the sonic supremacy of the established order in a revolutionary age. But it also reveals that military music provoked irritation, controversy and distress, not least by generating noise complaints and exacerbating sectarianism in Ireland. The article concludes by considering the role of British regimental music-making in overseas colonies and foreign theatres of operations, arguing that it functioned as a form of soft power that underpinned imperial authority, aided diplomacy and eased relations with local inhabitants. An intrusive symptom of large-scale military mobilization, martial music shaped civilian attitudes and soundscapes while profoundly influencing broader musical culture. [ABSTRACT FROM AUTHOR]

In this research paper, a polyester‐based bandpass microstrip filer is proposed. Split ring resonator, stepped‐impedance resonator structure, and coupled microstrip lines are used to design the proposed filter circuit in the pass band of 4.35 to 4.60 GHz for NATO frequency band military applications. The filter is fabricated using polyester substrate and self‐adhesive copper tape. The Agilent vector network analyzer is used to test the fabricated polyester wearable filter. There is good agreement between the simulated as well as measured insertion loss and return loss of the proposed wearable filter. [ABSTRACT FROM AUTHOR]

The photo captured in 2018 during a one‐week stopover on a trip between two Central Rainforest regions of Peru is the point of departure for a reflection on the use of sound by Asháninka, Nomatsiguenga, and other rainforest peoples for "Amasonic" politics. A wide span of genres ranging from autochthonous songs produced by ensembles playing percussions and pan‐flutes to school bands performing military marches is key when rainforest peoples exert pressure in the provincial capital to obtain land titles and other rights. Asháninka and Nomatsiguenga leaders also create soundscapes pervaded by politics at local gatherings to consume manioc beer and ally with supporters to enhance their demands. Disputes take place within these shared soundscapes, as evidenced by a Mother's Day celebrations at which Indigenous and nonindigenous school teachers chose diverging music and dances for their grades to perform because of disagreement about what is essential for the Peruvian repertoire. [ABSTRACT FROM AUTHOR]

Copyright of Mağallaẗ Al-Dirāsāt Al-Tārīẖiyyaẗ wa Al-Ḥaḍāriyyaẗ Al-Miṣriyyaẗ is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the proposed article is to determine the peculiarities of the formation of the saxophone quartet in the world musical culture of the 19-th century in the unity of performance and compositional creativity. The research methodology is based on the use of the following methods: textological, source studies, and hermeneutics - when processing musicological and sheet music sources on the chosen topic; systemic-historical, which makes it possible to comprehensively consider the saxophone quartet in the context of the history of the development of world wind art of the 19th century. Special attention was paid to the method of personalisation (scientific biography), which helped to outline the contribution of composers to the formation of the original repertoire for the saxophone quartet of the specified chronological period; analytical - when revealing the immanent features of specific works of the analysed genre. The scientific novelty of the work consists in a comprehensive study of the stage of formation of the saxophone quartet in the world musical culture of the 19th century, outlining the specific genre and style features of the first original compositions for the named ensemble. Conclusions. The saxophone quartet is one of the most popular forms of performance on the named instrument. The prerequisites for its formation were the use of a group of saxophones in wind and military bands. The first saxophone quartet originated in the French musical culture of the 19th century. and by the end of the century it had spread to Europe and America. Usually, saxophone quartets toured together with professional concert groups - P. Gilmore, J.-F. Souza, F. Innes and others. The founders of saxophone ensembles were solo performers themselves, in particular, E. Lefebre. Based on the analytical characteristics of the original works for saxophone quartet by J.-B. Singeli, J. Savarі and С. Florio, their immanent genre-stylistic features are determined, such as the reliance on the structure of the four-part classicist string quartet (Quartet op. 53 by J.-B. Singeli and Quartet for Saxophones by J. Savarі), a combination of different types textures, reliance on romantic harmony and melody of operas by authors of the 19th century. [ABSTRACT FROM AUTHOR]

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this work, the design and performance of a circularly polarized (CP) antenna designed using characteristic modal analysis (CMA) for military band application is presented. The substrate used is single-sided glass-reinforced epoxy and the antenna dimensions are 37×37×1.6 mm3. The antenna is compact, low-profile, circular polarized having an ARBW of around 500 MHz (center frequency 4.6 GHz). A coplanar waveguide (CPW) fed monopole antenna is used for excitation of the modified-square slot antenna that incorporates quarter section of circular symmetrical patches on the four corners. A stub orthogonal to the CPW fed monopole capacitively tunes the low Q mode as identified by CMA technique to shift to a lower frequency to create degenerate modes in military band for circular polarization generation. The 3-dB AR bandwidth of the antenna is in the frequency range 4.43-4.9 GHz and measured value of impedance bandwidth is 3.33 GHz. The fractional ARBW and impedance BW are 10.07 % and 61.6 % respectively. The peak antenna gain in the CP frequency band is 3.75 dBic. The proposed antenna exhibits good polarization purity, the minimum axial ratio is 1.38 at 4.6 GHz. The broad circular polarized antenna is suited for military applications covering the frequency range 4.43-4.9 GHz. [ABSTRACT FROM AUTHOR]

The article reports that sidewalk- and edging-related falls are a major cause of occupational injuries for courier and delivery occupations. It mentions that lacerations and fracture injuries from falls onto landscape edging are common for humans and pets. It also discusses the ASTM C1055-20, Standard Guide for Heated System Surface Conditions That Produce Contact Burn Injuries.

The musical repertoire accompanying military and official ceremonies is made up of works belonging to the genres of ostrich music: marches, hymns and odes. Ceremonial performances follow clear legislative specifications and are held on national holidays. These ceremonies are held in all the major cities of the country, in the presence of official and military officials and the general public. To the sound of brass band music, the highestranking officials are honoured and troops from the area's garrisons march past. The atmosphere becomes festive, solemn, commemorative and evocative. [ABSTRACT FROM AUTHOR]

The article focuses on the AWM who spend several million over 8 years expanding their exhibits and displays. Topics include considered in October, 2022 the MHSA is conducting a Military Spectacular on the Sunshine Coast, Qld over 3 days to honour, respect and commemorate several veterans and their families.

Soldiering is an congenital feature of The Turks. The Turks, who have a rich past, have used music for the motivation throughout the history. The aim of the research is to make a general review of the use of music as a military motivation tool. In the research conducted with the method survey, investigations were made on the use of music as a military motivation both in the Turks and in the world. As a result of the research, it has been observed that music, which is used both as a prestige indicator and as a military motivation, contributes to military successes, especially on behalf of Turkish societies. [ABSTRACT FROM AUTHOR]

This article deals with the musical and lyrical aspects of Danny Sanderson's songwriting art. During the 1970s, Sanderson was at the forefront of Israeli music, and this article will focus on the years 1978-1980 when Sanderson released two albums with his band, Gazoz, and the debut album of his next project, the group "Doda." We are interested in concentrating on combining musical analysis with three philosophical aspects, which we fuse to understand Sanderson's musical dimension in general, and in this period in particular: existentialism, absurdity, and everyday life. We will see how Sanderson's songwriting expresses these philosophical aspects, or at least relate to them, not only textually but also in his musical language. To this end, we will consider three aspects: the first, the influence of the blues and the gospel. Sanderson's work during this period stands out in its bluesy flavor with the advent of Blue Note characters and pentatonic segments. They are unique in their gospel tone (African-American religious music) he planted in the Israeli context. The second aspect has to do with tonal multidimensionality, created by tonal ambiguity, and a rich strategy of using modulations within parts of his songs to compose vibrant music. Sanderson takes his song structures from American pop patterns, but he presents a harmonious development saturated with modulations and sub-parts within the structure itself, which give it its uniqueness. Sanderson embroidered a unique language of his own, combining the echoes of existentialist philosophy, absurdity, and preoccupation with everyday life under capitalism into a unique musical pop-art, which the article explains. [ABSTRACT FROM AUTHOR]

Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, jazz, Romanian light music, etc.) from the creations of Romanian and universal composers, the wind symphony orchestra supported a rich concert, ceremonial and protocol activity, representing Romania in numerous national and international festivals. [ABSTRACT FROM AUTHOR]

The relationship of Brahms's Hungarian Dances to their origins has been a subject of enquiry ever since they were first published. This article extends previous investigations of Brahms's written sources to include the many 78rpm recordings of 'traditional' Hungarian music made shortly after his death. It establishes that nearly half of the Brahms melodies appear in the repertory of popular recording artists such as the so-called 'Gypsy bands', and that many of these artists had been active in Vienna during Brahms's lifetime. It identifies other performing contexts—military bands, popular songs, salon pieces—and argues that the 'Hungarian Dances' are an invented amalgamation of several distinct genres, reflecting Brahms's urban experience and musical interests. The article compares Brahms's arrangements with the same tunes in oral tradition where possible and considers the wider implications of the recorded legacy for our understanding of the 'style hongrois' and Brahms's appropriation of it. [ABSTRACT FROM AUTHOR]

The article presents the discussion on legitimizing the popular artistic expressions reaffirming the multiplicity of the Colombian people. Topics include focusing on the way wind bands being an essential part of the social dynamics and artistic development in the country; and association with festive occasions showing the resemblance with autochthones formations.

Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, jazz, Romanian light music, etc.) from the creations of Romanian and universal composers, the wind symphony orchestra supported a rich concert, ceremonial and protocol activity, representing Romania in numerous national and international festivals. [ABSTRACT FROM AUTHOR]

Existing research into Australian defence force bands, including that published by the Australian Defence Force itself, assumes that women were not eligible to join mainstream military bands until the 1980s. Prior to this, it was thought women's involvement in music in the Australia defence forces was limited to concert parties and membership of women's auxiliary ensembles. This article will show that, on the contrary, a small group of women played in Royal Australian Air Force (RAAF) bands during World War II. These women, members of the Women's Auxiliary Australian Air Force (WAAAF), were invited to join their local RAAF bands when overseas deployments limited the availability of male musicians. This study uses archival research, contemporary media reports and interviews with WAAAF veterans to explore the lives and duties of this previously unacknowledged group of defence force musicians. Despite being paid less than their male counterparts, this small group of women proudly played and marched on equal terms with the men when their country needed them, only to be excluded for another forty years once peace reigned. [ABSTRACT FROM AUTHOR]

The room that had a rectangular window with long green blinds and an old pine desk beneath the window and a narrow pine bed in the corner with a colourful duvet, and a wooden floor with a small hole in one plank and a high ceiling. For it is the room, this room, out of all the other rooms in all the other wards in this abandoned institute, that my story is about. Always and ever only talking about doors and windows and desks and floors and ceilings and beds and doors and windows. It is all happening in a room. [Extracted from the article]

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The role and importance of military musicians changed and intensified in the late eighteenth century through two important processes. The first was the culture of display that took root in both the home-based army and units in the colonies. The second was the result of successive militia acts which effectively ensured that military units with bands would be systematically placed in every corner of the British Isles. It became evident that music as a component of military display served an important diplomatic purpose. Music performed in public spaces was heard by a population deeply sceptical of the army and with an essentially local sense of identity. The experience of the sight and sound of military music raised entirely new perceptions of nation and of the state as a benign power. Two important and related themes emerge here. The first is the historical process that led, almost accidentally, to a realization that music as part of military display had potential to influence populations across the country and in the colonies. The second, more challenging, theme concerns the nature of the evidence for this idea and how it is to be treated. It is an idea that is totally convincing if the experience of hearing and seeing military spectacle by the mass of the people can be shown to have had impact. What is the evidence of listening to music by those people at whom it was targeted, how robust is it and what can be made of it? [ABSTRACT FROM AUTHOR]

In this article, a compact dual-band linear-to-circular polarization converter designed on a single-layer substrate is proposed. The unit cell of the converter has a size of $3.72\times 3.90\times 1.52\,\,\text {mm}^{3}$ ($0.0072\lambda ^{3}_{o} $ , $\lambda _{o}$ is calculated with respect to 20.67 GHz). The converter consists of split rings and a pair of metallic strips printed on both sides of a single-layer substrate for dual-band operation. The proposed converter has a measured 3-dB axial ratio bandwidth of 5.56% (20.10–21.25 GHz) in the lower band and 3.97% (29.12–30.30 GHz) at the upper band. The converter transmits a right-hand circularly polarized (RHCP) wave at the lower band and left-hand circularly polarized (LHCP) wave at the upper band for a linearly polarized (LP) incident wave. The characteristics of the polarization converter are validated by integrating an array of $7 \times 7$ elements of its unit cell in the endfire direction of a dual-band LP dipole antenna operating in the same frequency bands such as that of the polarization converter. The antenna integrated with the polarization converter exhibits measured circularly polarized (CP) bandwidths of 7.80% and 6.57% in the lower frequency band: 20.10–21.75 GHz and the upper frequency band: 29.4–31.4 GHz, respectively. The integrated antenna can act as a feed source of a high-gain dual-band transmit array for uplink (30.0–31.0 GHz) and downlink (20.2–21.2 GHz) of $Ka-$ band military satellite communication. [ABSTRACT FROM AUTHOR]

Military service members have been taking and circulating illicit images for decades, and soldier-produced illicit images are a regular and coherent category of international images. Focusing on two case studies – Abu Ghraib images and images of hazing – the argument put forward in this article is that soldier-generated illicit images are not simply photographic evidence, or accidental by-products, of exceptional military activities; rather, these images – and the practices associated with these images – are central to, and reinforce aspects of, military band of brother culture. Soldier-produced illicit images establish a visual vernacular that normalizes particular practices within military communities. Moreover, the practices of producing, circulating and consuming these images convey explicit messages to service members about acceptable behaviour and norms around loyalty and secrecy. A method of visual discourse analysis is developed and employed to examine the acts captured in soldier-generated illicit images as well as the practices linked to the production, circulation and consumption of images. Building on existing work on military culture and images and international relations, this article makes a unique contribution by systematically analysing soldier-produced illicit images in order to gain insights about internal military culture and group dynamics. [ABSTRACT FROM AUTHOR]