Tag: Tasmania

Testing times: the resilience of Australian bands during the Great Depression

Jeremy de Korte3 Comments
165x215mm
A large room of tables stocked with fruit and vegetables with a brass band in the centre of the crowd. (Source: State Library of Western Australia: 8292B/A/6851-1)

Introduction:

From conversations I have had with bandmasters in Australia it would appear that the bands generally have been very hard hit by the depression, but I have been struck by the fine spirit and courage shown generally by them in these passing troubles.  Undoubtedly brighter times are coming, and they will be rewarded for the admirable attitude they have taken right through.

(Adkins, 1934)

The years from 1900-1950 are filled with historical events that caused great upheavals in society across the globe. Australia was similarly affected, and nominally our bands as well.  It was not all doom and gloom for bands as this time is one that I personally regard as a golden period.  However, when society experienced hardship, our bands did as well.  The Great Depression from 1929-1939 is just one of those events that was global, but it was felt right down to the tiniest country town.  As for our bands, numerous articles published in newspapers tell of struggle and hope.  The words from Capt. H. E. Adkins, quoted above, then conductor of the A.B.C. Military Band attest to this.

In a previous post the impact of the “Spanish” Influenza on our bands was examined.  Australian society could not have predicted that a decade later they would again be thrust into convulsions not because of a health crisis, but an economic crisis.  Australian bands that existed at the time relied heavily on local council support and the goodwill of subscriptions from the general public.  The money was necessary to keep them going and keep them supplied.  Yet, as can be seen, there were some bands that were formed during this time.  Music, it seems, was a way in which people could forget their struggles and enjoy some community.

This post will obviously highlight some of the struggles that were experienced by bands and band associations during this time; unfortunately, this is unavoidable.  It is also necessary to provide context.  This post will also highlight the resilience of our bands during this time.  Many survived in the most trying of circumstances.  They also kept up a regular pattern of concerts, parades, contests, and other events and in one instance, they also gave their support to the desperate of society. 

The Great Depression is but one event in history, as is the Coronavirus pandemic of today that is again impacting our many bands.  Resilience is a common term that defines the bands of the time.

The Great Depression in Australia: a brief history:

The headlines on an article published in the Sydney Morning Herald on October 26th, 1929, did not mince words: “Wild Selling. New York Panic. Profits Wiped Out. £80,000,000 Slump.”  – the stock market in New York had crashed on October 24th and this sent the economy into a tailspin (“WILD SELLING,” 1929).  The crash on October 24th, 1929, has been well-documented and for much of the world, this had profound consequences.  However, there had been economic troubles in Australia leading up to this event during the 1920s and this led to a decade of financial hardship for all:

As for many other countries, the 1920s were a decade of mixed blessings for Australia.  State governments continued to borrow to finance important public works projects, but underlying problems remained.  Post-war inflation in 1919 and 1920 was followed by a recession.  Unemployment hovered at around 10 per cent during the 1920s.  Loan funds from London dried up after 1927, limiting debt-financed public works.

(Eklund, 2008)

The early years of the Great Depression were very hard in Australia with major unemployment, collapse of the wool and wheat prices, social unrest, displacement of people and governmental problems (Eklund, 2008; National Museum Australia, 2020).  Williamson (2009) tells us “it was the working classes and those who became unemployed who bore the greatest brunt of the Depression.” and that “Losing a job broke the work and leisure routines of an individual’s life, and the victim further lost the company of workmates.” (from Electronic Article).

From 1930 a form of welfare assistance was given to needy households and was either in the form of “sustenance”, “the dole” or “rations” which was “barely enough to survive” (Hutchens, 2020).  This later evolved into other forms of basic work on designated projects for governments and local councils.  In 1932, 60,000 Australians – men, women and children, were dependent on this scheme and unemployment hit a peak of 32% (National Museum Australia, 2020).  A small song sung by the unemployed and children basically summed up the situation that thousands found themselves in:

“We’re on the Susso now,
We can’t afford a cow.
We pay no rent,
We live in a tent.
We’re on the Susso now.”

(Hutchens, 2020; McAnulty, 2017; National Museum Australia, 2020)

The immediate effect of such large job losses and unemployment led to mainly men wandering the country in searching for work (Eklund, 2008).  As well as this, those that remained in work faced cuts to wages and underemployment, which added to the social problems.  Many who had lived reasonable well in the 1920s found themselves in employment situations that they had not previously encountered (Eklund, 2008). 

By the later parts of the 1930s, economic conditions gradually improved although unemployment was still a major problem (“Australia’s Rise From Depression,” 1936).  Recovery was slow, and then tempered by the advent of the Second World War – the next global period of strife.

Finances and Administration:

How did Australian bands weather this economic storm, and what do the available records tell us?  The Annual General Meetings of individual bands and associations provide snippets of information as to how they fared, and thankfully these meetings were detailed in local newspapers.  The Hills Central Brass Band from South Australia held an Annual General Meeting in March 1930, the early years of the Depression.  In their reports the band said they were faring well and had accrued a small credit.  A paragraph from the article that was published in the Mount Barker Courier and Onkaparinga and Gumeracha Advertiser newspaper provides an insight into their awareness of the economic situation.

The chairman, in moving the adoption of the report and balance sheet referred to the excellence of the report.  Mr. Duffield had made a very capable secretary, and took a keen interest in the band.  The report was the best they had had.  With regard to the financial position of the band the speaker though it was highly satisfactory, considering the present depression.

(“HILLS CENTRAL BRASS BAND.,” 1930)

The Devonport Brass Band from Tasmania took an insular view of the conditions when they held their meeting in March 1931 insofar as the rest of Australia was having problems, but their band was proceeding as best they could.  Their acknowledgement of the present conditions opened the report of the AGM as detailed in an article published by The Advocate newspaper.

The report of the year’s working of the Devonport Brass Band at the annual meeting this evening will reveal that there is little sign of the depression so far as the fortunes of this organisation are concerned.

(“DEVONPORT.,” 1931)
Peterborough Federal Band, 1924 (source: IBEW))

Back to South Australia, at an Annual General Meeting of the Peterborough Federal Band held in July 1931, the financials were outlined, and credit was given to the secretary of the band for his sound management of the finances during the previous year.

The secretary’s annual report disclosed a very active and successful year, whilst the balance sheet showed the Band to be on a sound footing; two years ago the overdraft was in close proximity to £200, last year it had been reduced to £14/6/5, and this year closed with a credit balance of £15/0/3, the receipts being £116/19/1 and the expenditure £87/12/5; this in face of the terrible depression that has existed, is a wonderful achievement, and reflects great credit upon the secretary (Mr. W. H. Kaehne), whose sole aim has been a credit balance, and he is to be highly complimented on reaching his objective.

(“Peterborough Federal Band,” 1931)

In these early years of the depression, it is obvious that bands were well aware of the prevailing economic conditions.  However, it was not just individual bands that were taking notice, the band associations were as well.  In May 1932 the Queensland Band Association held their Annual General Meeting and mention of the depression was made in the annual report.

Fees received for registration for the year totalled £119 18s 6d., as against £106 8s 6d. in the previous year. The 1933 contests would be held at Mackay.  Notwithstanding the prevailing depression the association had held its own financially and closed a successful year with a credit balance of £91 11s 4d. compared with £105 16s 1d. last year.

(“BAND ASSOCIATION,” 1932)

Unfortunately, some bands inevitably ran into trouble during this period and either went into recess or disbanded.  Finances were certainly a factor in this, but loss of members was another – which will be explored in the next section.  In 1932 the Yeppoon Brass Band, located in North Queensland, announced that it would go into recess due to lack of funds and members (“INTO RECESS,” 1932).  However, in a generous move, the band allowed remaining members to keep their instruments while in recess.  The Franklin Harbour Band from the Eyre Peninsula in South Australia lamented its struggles in an article published by the Eyre’s Peninsula Tribune newspaper in November 1936. 

… at present one of the depression periods is being experienced and unless a revival of interest by the young men of the town and district is evinced, there is a possibility of the band after 25 years of continuous existence, sinking into oblivion.

(“FRANKLIN HARBOUR BAND.,” 1936)
Franklin Harbour Brass Band (date unknown) (source: IBEW)

The Gawler Brass Band was another that faced growing troubles and in 1938 announced that it was disbanding due money being owed to the local council – they owed £100 for instruments – and lack of members as they had gone from 24 players to 12 (“Gawler Brass Band May Not Continue,” 1936).

The Mail, 18/07/1936, p, 2

This call for more support was a common one from bands and associations as their finances dwindled and membership became problematic. The then Secretary of the Tasmanian Band Association, a Mr W. H. Gray was one who called for more support in a long letter published in The Mercury newspaper in January 1932 (Gray, 1932).  The letter is interesting given that Mr Gray makes no mention of the Depression while calling for more support for the bands – the subject of the letter is mainly about bands playing in certain parks from which they gain revenue.  However, one cannot help but feel that the impact of the Depression was implied when Mr Gray writes in his letter,

The bands are prepared to carry on provided the necessary public support is forthcoming, but many of them are doomed to early extinction if that support is not more liberal from now on.  The Sunday evening concerts provide a most pleasant hour, and are a wonderful tonic and inspiration for the following week’s worries and cares.

(Gray, 1932)

Of course, there were always some who resented that brass bands were getting any form of support at all, which was perhaps understandable. One person from regional South Australia wrote a pointed letter to the Advertiser and Register newspaper complaining that the Government was not doing enough to help primary producers and instead found some money to fund an Institute in Waikerie and buy instruments for the Waikerie Brass Band (to the value of £350) (Rogers, 1931).

Waikerie Brass Band, 1930s (Source: State Library South Australia: B 34089)

There are still more stories to be found regarding the experiences of bands in the Great Depression and thankfully, some are brought to light through community newspapers.  For example, two stories about the Walcha Brass Band, published in the Walcha News newspaper (Walsh, 2019a, 2019b).  The Walcha Brass Band suffered through the 1930s due to the impacts of the Depression but recovered soon after the cessation of the Second World War and survived until 1969 when it disbanded  (Walsh, 2019b).

If this small sample of AGM’s are to go by it is evident that bands were fully aware of the impacts of the depression.  Which made them all the more pleased to find they were riding the economic impacts as best they could. 

Employ a Bandsman:

Every band wants to retain their members as best they can.  This was no different for the bands during the Depression years where, as it was mentioned, people had to leave their localities to find work elsewhere.  Again, the fact that bands were losing members due to Depression conditions, factors that were really beyond their control, sometimes had a detrimental effect on the bands.  One strategy that bands used was to try to find employment for bandsmen in their own localities and on occasion implored local businesses to help them.  This was not an easy thing for bands to ask.

Freeling Brass Band (date unknown) (source: IBEW)

In 1931 the loss of members from the Freeling Model Brass Band from South Australia was noted as a significant factor affecting the survival of the band.  We can see in an article published in The Bunyip newspaper just how dire the circumstance of the band was in 1931.

The secretary (Mr. E. L. Anders) read the report and balance sheet on the year’s work.  He stated that the Band were in a financial position, but were unfortunate in losing eight playing members during the year; some having left the district through unemployment.  […] He also stressed the point, that little or no interest was shown by the playing members and the support from the public was very scanty.  This let the band down badly, and if not more support was forthcoming, the band would have to go into recess for a short period. […] A lengthy discussion arose, and for a time it was hard to distinguish what was being said.  It was proposed that the band go into recess.  After order was restored, it was proposed and seconded that the band carry on. 

(“FREELING MODEL BRASS BAND.,” 1931)

The Muswellbrook Brass Band, located in the Newcastle area of New South Wales, recognized that they might lose two members due employment issues and they made a request to the public in their March committee meeting.  This request was detailed in the local Muswellbrook Chronicle newspaper.

Employment Sought for Members.

Reference was made to the possibility of losing two valuable members of the Band owing to their inability to obtain employment in the town.  The hope was expressed that this matter would come under the notice of the general public, and that anyone in the position to offer employment would communicate with Mr. Wallace (hon. Secretary). 

(“MUSWELLBROOK BRASS BAND.,” 1935)

Similarly, in the same year, the Dandenong Brass Band from Victoria (as can be seen in the article below) also put out a plea to try to find employment for two of their members.

Dandenong Journal, 21/03/1935, p. 5

The Waratah Brass Band from Tasmania and the Port Adelaide Municipal Band were other bands that noted the loss of members due to employment issues (“WARATAH.,” 1935; “YOUR LOCAL BAND NEEDS SUPPORT!,” 1938).  It was a circumstance that many bands found themselves in during these years.

Port Adelaide Municipal Band (Source: The Citizen, 30/11/1938, p. 7)

Finding themselves in a slightly different situation, in 1937 a brass band located in Canberra was “disbanded as a protest against the refusal of the Department of Interior to guarantee all members permanent employment.”  (“BAND IS NOT TO PLAY,” 1937).  They were to play at an Armistice Service at Parliament House which forced the Department of Interior to hire a Sydney based band (“BAND IS NOT TO PLAY,” 1937).  However, in trying to defend this decision, the Secretary of the Department, Mr. Carrodus did say…

…that at least half of the members of the band had been given departmental jobs, but because of the stringent observance of the Returned Soldiers’ Preference Act it would be impossible to absorb them all.”

(“BAND IS NOT TO PLAY,” 1937)

It is hard to read of these circumstances and not feel saddened about the state some of these bands.  They were trying to exist in a time of history where outside forces were affecting how they operated; membership and commitment being a major part of those factors. No doubt they were doing the best they could under the circumstances.

The bands played on:

Brass band marching on Anzac Day, Sydney, 1930 (Source: National Library of Australia: 14446)

Music has always been known as a great reliever to troubles and during this time our brass bands rose to the challenge, not only for the good of the band and band members but also for the public and other causes.  In fact, some commentators suggested that there was no need for music making to stop.  In 1931 a Dr A. E. Floyd wrote in an article published in the Australasian newspaper,

The effect of the present financial stringency on every man’s music and musical progress need not be unmitigatedly bad; indeed it may be easily, with a little forethought, be decidedly good. 

(Floyd, 1931)

Admittedly, the context of Dr. Floyd’s article was more on making music in the home environment.  However, there is no doubt that his thoughts were cross-applicable to playing in ensembles outside of the home as well – his encouragement was for people to keep making music no matter the circumstances for health reasons.

For our bands it was a little more difficult as engagements slowed and money was scarce.  The bigger bands, often based in metropolitan centres were luckier than most as they could keep up with a regular pattern of performances, parades and competitions.  Indeed, the Victorian Bands’ League presented some very impressive massed band events during this time including one in 1937 that involved six hundred bandsmen! (“BIG BANDS DISPLAY,” 1937).  In Sydney, a grand competition was held in 1938 which drew together bands from across Australia (Bandsman’s year book, 1938).  While in the regional town of Wellington in New South Wales, their first competition in twenty five years was labelled a “Tremendous and Outstanding Success” by the Wellington Times newspaper (“WELLINGTON BAND CONTEST.,” 1932).

Music for a cause:

The brass bands also did their bit for charitable causes and lent their services to help the needy.  For the bands, this was not a new style of engagement as over time they were regularly engaged in helping raise money for charity – the Victorian Bands’ League massed bands event in 1937 raised money for charity.  However, during the Great Depression this was giving a new meaning and we find the bands involved in some distinct social causes as well.

We can see that bands were an uplifting presence.  In North Queensland the Mirani Brass Band helped to lift spirits during a harvest thanksgiving event and the band was noted for their playing – practices had lifted after harvest when more members were available (“DISTRICT NEWS.,” 1930).  While over in Western Australia, the Merredin Brass Band joined other local organisations in an engagement that raised money for the needy in the district (Branson, 1931).  The Matron of the Clare Hospital located in South Australia wrote an appreciative letter to the Blyth Agriculturist newspaper to thank the “generosity of the general public” and the Clare Brass Band was given a special mention for raising money for a new dressing table in the Isolation section (Pattullo, 1934).

The thanks went both ways.  In April 1930 a letter was published in the Burra Record newspaper co-written by the President, Bandmaster and Secretary of the Spalding Brass Band thanking a Mr. P. Clark of Burra for financing a trip and engaging them to play (Hewish et al., 1930).  No doubt the band was grateful for these kinds of opportunities.

Burra Record, 16/04/1930, p. 3

We can also see mentions of brass bands leading marches and demonstrations, which is perhaps understandable.  Many brass bands were supported by industry at this time and no doubt some of the workers were affected by the conditions around them.  Mention was made of a brass band leading an Anti-Eviction procession in Sydney in 1933 and in Newcastle, a brass band headed up 600 unemployed from the “West Wallsend District” who marched on the town hall in 1935 (“ANTI-EVICTION PROCESSION.,” 1933; “UNEMPLOYED,” 1935).

Sydney Morning Herald, 14/08/1933, p. 10

Resilience:

We have already seen that some of the effects of the Great Depression on brass bands led to them going into recess or suffering financial and membership difficulties.  We have also seen that bands kept up their activities as best they could.  They were resilient in the face of adversity.  And if it was one activity that brought people together, it was the brass band.  In this decade, some bands even started up again.

In the township of Leeton, located in the Riverina district of New South Wales, a long letter was published in the Murrumbidgee Irrigator newspaper written by a contributor with the colloquial name of “Has Been”.  In 1932 the Leeton Band resumed practicing and this writer waxed lyrical on how much this band would mean to the town.

Sir,- I notice by your advertising that the Leeton Band is commencing its practices again, which means that we are again to have the pleasure of hearing band music.  This, I am sure, will be very pleasing to quite a number of people in our town and district, for the band is a decided acquisition to any town, no matter how small.

(“Has Been”, 1932)

Of course, there was a trade-off to reforming the band and “Has Been” wrote an appeal to the townsfolk to look for employment opportunities for bandsmen.

Might I add another word to the employers of labour, whether it be shop, farms or factory, when in need of a man, give the band secretary a chance to supply you with a bandsman.  If there is not a man in town suitable for the job, ask the band secretary to see what he can do.  The band secretary, being a life man, would, no doubt insert an advert in the city papers, worded something like this: “Wanted – A mechanic (or whatever the position was that had to be filled), good man only; must be bandsman (cornet player preferred) – Apply Secty Leeton District Band.

(“Has Been”, 1932)

“Has Been” was probably working a bit ahead of himself but the initiative was warranted given the difficult times – and many other bands were trying the same initiative.

The Tully Brass Band from North Queensland was perhaps one of the luckier ensembles as six years prior to 1933, residents of the town subscribed to the band and £400 had been spent on instruments (“TO BE RE-FORMED,” 1933).  When the band was reformed in 1933 those instruments were still available, so the band was able to restart almost immediately.  We can see in the photo below what the band was like in the 1930s.  

Tully Brass Band marching. ca. 1930s (Source: State Library of Queensland: 33123)

To be resilient a band had to be able to handle the circumstances as best they could and gathering public and council support was a chief aim.  When these pieces fell into place, bands could survive reasonably comfortably despite the outside circumstances.  For bands to restart during this time was an additional challenge which some of them managed with success.

Conclusion:

Coming out of the 1920s where the world seemed to be recovering only to plunge into another crisis must have been a major shock.  For bands, this meant a greater focus on administration especially finances, engagements, and membership.  Some aspects were simply out of their control such as the movement of members due to employment – as enjoyable as playing in a band might be, the outside need was to find a job.  It was admirable that many bands sought to find work for their members and themselves become a social service.

No doubt the work the bands were doing was appreciated by their communities either through live performance or over the wireless.  Music is uplifting.  Music could help people forget about their predicaments, if only for a short time.  The bands did their best.

References:

“Has Been”. (1932, 26 February). REFORMING THE BAND : (To the Editor). Murrumbidgee Irrigator (Leeton, NSW : 1915 – 1954), 3. http://nla.gov.au/nla.news-article155893074

Adkins, H. E. (1934, 10 January). Britain’s Big Brass Bands. Courier-Mail (Brisbane, Qld. : 1933 – 1954), 10. http://nla.gov.au/nla.news-article1158876

ANTI-EVICTION PROCESSION. (1933, 14 August). Sydney Morning Herald (NSW : 1842 – 1954), 10. http://nla.gov.au/nla.news-article16998155

Australia’s Rise From Depression : Story Told By Figures. (1936, 15 February). Northern Producer and Morawa and District Advertiser (WA : 1930 – 1947), 4. http://nla.gov.au/nla.news-article257624349

BAND ASSOCIATION : The Annual Report. (1932, 12 May). Telegraph (Brisbane, Qld. : 1872 – 1947), 13. http://nla.gov.au/nla.news-article180704011

BAND IS NOT TO PLAY : Demand Permanent Jobs. (1937, 11 November). Labor Daily (Sydney, NSW : 1924 – 1938), 6. http://nla.gov.au/nla.news-article237760894

The Bandsman’s year book and official programme of the Australian Championship Band Contest. (1938). (Band Association of New South Wales, Ed.). Band Association of New South Wales. 

BIG BANDS DISPLAY : 600 Players. (1937, 25 September). Sporting Globe (Melbourne, Vic. : 1922 – 1954), 7. http://nla.gov.au/nla.news-article180841683

Branson, I. N. (1931, 28 April). The Meldrum Benefit. Wheatbelt Wheatsheaf and Dampier Advocate (Merredin, WA : 1930 – 1939), 1. http://nla.gov.au/nla.news-article251755519

DEVONPORT. (1931, 31 March). Advocate (Burnie, Tas. : 1890 – 1954), 4. http://nla.gov.au/nla.news-article67710241

DISTRICT NEWS : Mirani : (From our Correspondent). (1930, 23 December). Daily Mercury (Mackay, Qld. : 1906 – 1954), 6. http://nla.gov.au/nla.news-article170235248

Eklund, E. (2008). 10 June 1931. In M. Crotty & D. A. Roberts (Eds.), Turning Points in Australian History (pp. 48-61). University of New South Wales Press Ltd. 

Floyd, A. E. (1931, 03 January). MUSIC : Need the Depression Stifle Music? Australasian (Melbourne, Vic. : 1864 – 1946), 15. http://nla.gov.au/nla.news-article141416272

Franklin Harbour Brass Band. (n.d.). [Photograph]. [phot3437]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

FRANKLIN HARBOUR BAND. (1936, 26 November). Eyre’s Peninsula Tribune (Cowell, SA : 1910 – 1950), 2. http://nla.gov.au/nla.news-article219473615

Freeling Brass Band. (n.d.). [Photograph]. [phot15438]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

FREELING MODEL BRASS BAND. (1931, 19 June). Bunyip (Gawler, SA : 1863 – 1954), 6. http://nla.gov.au/nla.news-article96642544

Gawler Brass Band May Not Continue. (1936, 18 July). Mail (Adelaide, SA : 1912 – 1954), 2. http://nla.gov.au/nla.news-article55830899

Gray, W. H. (1932, 09 January). BAND CONCERTS : Appeals for More Liberal Support : To the Editor of “The Mercury.”. Mercury (Hobart, Tas. : 1860 – 1954), 9. http://nla.gov.au/nla.news-article29939058

Hewish, P. A., Carlson, A. C., & Mannion, F. J. (1930, 16 April). SPALDING’S BRASS BAND APPRECIATION : (To the Editor). Burra Record (SA : 1878 – 1954), 3. http://nla.gov.au/nla.news-article37488195

HILLS CENTRAL BRASS BAND. (1930, 21 March). Mount Barker Courier and Onkaparinga and Gumeracha Advertiser (SA : 1880 – 1954), 5. http://nla.gov.au/nla.news-article147845925

Hutchens, G. (2020, 29 March). The lessons of our past and our neighbours’ present could guide Australia’s economic response to coronavirus. ABC News. Retrieved 02 October 2020 from https://www.abc.net.au/news/2020-03-29/australias-history-of-economic-support-coronavirus-covid-19/12100194

Illustrations Ltd. (1932). Large group of people in shed near tables full of vegetables and fruit [picture] [1 negative : glass, b&w ; 17 x 22 cm.]. [101841PD]. State Library of Western Australia, Illustrations Ltd collection ; 8292B/A/6851-1. https://encore.slwa.wa.gov.au/iii/encore/record/C__Rb2649568

INTO RECESS : Yeppoon Brass Band. (1932, 26 April). Morning Bulletin (Rockhampton, Qld. : 1878 – 1954), 1. http://nla.gov.au/nla.news-article54737835

ITEMS OF INTEREST : Dandenong Brass Band. (1935, 21 March). Dandenong Journal (Vic. : 1927 – 1954), 5. http://nla.gov.au/nla.news-article213964037

McAnulty, H. (2017, 13 January). History Talking: Surviving life in the dole-drums of the Depression. Central Western Daily. https://www.centralwesterndaily.com.au/story/4403111/history-talking-surviving-life-in-the-dole-drums-of-the-depression/

MUSWELLBROOK BRASS BAND : Committee Meeting. (1935, 01 March). Muswellbrook Chronicle (NSW : 1898 – 1955), 1. http://nla.gov.au/nla.news-article107669487

National Museum Australia. (2020, 15 April ). 1932: Height of the Great Depression, with 32 per cent unemployment. National Museum Australia. Retrieved 26 September 2020 from https://www.nma.gov.au/defining-moments/resources/great-depression

Pattullo, B. (1934, 12 January). THE CLARE AND DISTRICT HOSPITAL : | To the Editor |. Blyth Agriculturist (SA : 1908 – 1954), 2. http://nla.gov.au/nla.news-article217990434

Peterborough Federal Band. (1924). [Photograph]. [phot6378]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

Peterborough Federal Band : Annual General Meeting. (1931, 17 July). Times and Northern Advertiser, Peterborough, South Australia (SA : 1919 – 1950), 4. http://nla.gov.au/nla.news-article110542695

Pohjanpalo, J. (1930). Brass band marching on Anzac Day, Sydney, 1930 [1 negative : nitrate, black and white]. [nla.obj-15268053]. National Library of Australia, Jorma Pohjanpalo collection of photographs of Sydney and Queensland, 1928-1931. http://nla.gov.au/nla.obj-152628053

Rogers, G. S. (1931, 15 April). POINTS FROM LETTERS : Brass Bands or Primary Production. Advertiser and Register (Adelaide, SA : 1931), 12. http://nla.gov.au/nla.news-article45760607

TO BE RE-FORMED : Tully Brass Band. (1933, 13 May). Cairns Post (Qld. : 1909 – 1954), 6. http://nla.gov.au/nla.news-article41214410

UNEMPLOYED : Meet Shire Council : MANY DEMANDS : 600 March from West Wallsend : Strikers State Their Case. (1935, 12 July). Newcastle Morning Herald and Miners’ Advocate (NSW : 1876 – 1954), 11. http://nla.gov.au/nla.news-article138136031

Unidentified. (1933). Marching brass band, Tully, ca. 1930s [photographic print : black & white , ca. 1930s.]. [33123]. Brisbane John Oxley Library, State Library of Queensland, OneSearch. https://hdl.handle.net/10462/deriv/192004

Waikerie Brass Band. (1930). [Photograph]. State Library South Australia, Waikerie Collection. https://collections.slsa.sa.gov.au/resource/B+34089

Walsh, B. (2019a, 27 February). Walcha History: Band stands and delivers for Premier. Walcha News. https://www.walchanewsonline.com.au/story/5922107/walcha-band-stands-and-delivers-for-premier/

Walsh, B. (2019b, 13 March). Walcha History: Walcha Town Band’s final years. Walcha News. https://www.walchanewsonline.com.au/story/5947106/walcha-town-bands-final-hurrah/

WARATAH : The Band. (1935, 16 November). Advocate (Burnie, Tas. : 1890 – 1954), 10. http://nla.gov.au/nla.news-article86569751

WELLINGTON BAND CONTEST : THE FIRST FOR 25 YEARS : A Tremendous and Outstanding Success. : UNBOUNDED ENTHUSIASM. (1932, 04 January). Wellington Times (NSW : 1899 – 1954), 6. http://nla.gov.au/nla.news-article143246369

WILD SELLING : New York Panic : PROFITS WIPED OUT : £80,000,000 Slump. (1929, 26 October). Sydney Morning Herald (NSW : 1842 – 1954), 17. http://nla.gov.au/nla.news-article16596498

Williamson, A. (2009). The Cud on History — Looking Back on The Great Depression in Australia [Electronic Magazine Article]. The Cud: Entertain a new perspective: chew the cud. Retrieved 26 September 2020, from http://thecud.com.au/live/content/cud-history-—-looking-back-great-depression-australia

YOUR LOCAL BAND NEEDS SUPPORT! : A Short History. (1938, 30 November). Citizen (Port Adelaide, SA : 1938-1940), 7. http://nla.gov.au/nla.news-article236745262

Legitimate quirks of instrumentation: The inclusion of woodwinds in brass bands

Jeremy de Korte2 Comments
19000000_Malvern-Tradesmen-Military-Band_phot11448
Malvern Town Military Band, approx. 1900. (Source: IBEW)

Introduction:

Cornets, Flugel Horns, Tenor Horns, Baritones, Euphoniums, Trombones, Tubas and Percussion.  This standard of instrumentation for a brass band has been in place for a good number of years.  Yet before this standard was settled upon, there was an amount of time where the range of instruments was less distinguishable, or available.  The brass band as we know it today is the result of years of evolution with the result being a largely homogenous sound across the ranges.  Composers and arrangers also moved with the time, and we can see this in the sheet music.

This post will touch on one of the quirks of instrumentation in earlier brass bands, the use of woodwinds such as Clarinets and Saxophones, and even the odd Piccolo.  For the best part of forty years, some Australian brass bands included woodwind musicians amongst their personnel and allowances were made at some competitions, including the famous South Street.  This did not mean that there was widespread usage or acceptance of woodwinds in the brass bands.  However, there is evidence that some bands used them right up into the 1920s.

Tied into this is the naming of bands.  With the inclusion of woodwinds, some bands were still nominally called brass bands, but others were more inventive with names.  Some bands were sitting on the border of being brass or military in their instrumentation, as we can see with the photo of the Malvern Town Military Band above.

Nowadays the distinction between brass, military, and symphonic bands (concert bands) is much clearer cut.  The earlier times was when the boundaries were pushed.

Names and Instrumentation:

A brass band usually means that it is wholly comprised of brass instruments, and then when it included Clarinets, Saxophones, and Piccolos it was still called a brass band.  Such was the discrepancy in the names of early bands, a discrepancy that would cause confusion in the minds of modern musicians – today, names of bands generally indicate what kind of instrumentation they include.

The inclusion of Clarinets in a brass band was one of those holdovers from English brass bands.  Arnold Myers (2000), writing in a chapter titled Instruments and Instrumentation of British Brass Bands, explains that,

Often clarinets were used in what were otherwise all-brass groups, a usage which continued throughout the nineteenth century and into the twentieth, though not in major contests from the 1870s.  The presence of clarinets did not alter the essential nature of the brass band: they replaced one or more Bb cornets, or were used to provide brightness in the upper register in the role usually played by the soprano cornet.

(p. 156)

In Australia, trends of instrumentation in brass bands tended to start and end much later than in the UK.  We know that brass bands held a prominent part in many towns, communities and industries across Australia.  We also know that various military bands, bands comprised of a more substantial variety of woodwind instruments, brass and percussion, had been a part of musical life since the early days of the colony.  Although, at times, they needed special explanation, as shown in an article published in the Geelong Advertiser in 1911 (Blakiston, 1911).  Mason (2013) in his thesis, tells us that “military bands provided music military and state functions, as well as performing for the general public and servicing as a source of musicians for cities’ orchestras and other ensembles.” (p. 81).  In their own way, the military bands have their own important history.  The early military bands served as a precursor to the many Defence Force Bands, school concert bands, community concert bands and symphonic bands that fill the musical landscape today (Mason, 2013).

Aside from the number of woodwinds, some commentators attempted to call out the brass bands which included clarinets for trying to be something they were not.  One interesting article was published in the Bairnsdale (Vic.) based Every Week newspaper in May 1918.  Titled “Clarinets in the Brass Band”, the writer used the premise that just because some brass bands included Clarinets (or other woodwinds) in their instrumentation, did not automatically make them a military band – and that they should not attempt to play military band music or arrangements.

Bands which have few clarionets or even bands which have a goodly number of clarionets, but no other reed instruments, make a big mistake when they consider themselves “military bands” and aim to play military band arrangements.  They are really brass bands plus clarionets – a thing very far removed from a military band.

(“CLARINETS IN THE BRASS BAND.,” 1918)

Excusing the seemingly blunt language, the writer was correct.  Brass bands that included Clarinets and Saxophones in their line-up were still nominally brass bands, they were not military bands.  Still, the naming of bands is interesting.  Below is a picture of the North Hobart Concert Band taken in 1917.  We can see in the picture that four of the members have Clarinets and one member a Soprano Saxophone.  They also include all of the instruments that comprise a brass band.  If we were to apply the modern name and meaning of a concert band, we would assume it to have a full section of woodwinds.  However, in these early days, this was not the case.  On a side note, we can see that the Bandmaster is one of the members holding a Clarinet.  The Bandmaster in this photo, a Mr. A. W. Caddie, was appointed Bandmaster of the North Hobart Concert Band in 1916 after leading the Zeehan Military Band for a number of years (“NORTH HOBART BAND.,” 1916).  Mr. Caddie was a Clarionetist of some renown and won the Clarionet section at the Royal South Street brass solo competitions in 1912 (Trombone, 1912).

19170000_North-Hobart-Concert-Band_phot3458
North Hobart Concert Band, 1917 (Source: IBEW)

Through this short discussion on instrumentation and naming, it is established that Clarinets and Saxophones existed in brass bands for several years and were accepted as such.  It was up to the music publishers to cater for them as well.

Sheet music:

The other side of including limited woodwinds in brass bands is of course the sheet music.  Brass bands that included limited woodwinds may not have had the instrumentation to play arrangements of military music, but they were able to play brass band music with added Clarinet parts – of which the writer of the article in Every Week pointed out (“CLARINETS IN THE BRASS BAND.,” 1918).  Given that the instruments in brass bands are predominantly keyed in Bb or Eb, it was easy enough to create parts for Clarinets and Saxophones as well.  Piccolos used in bands in those days were mostly keyed in Db or Eb which was different.  Parts were included with some editions of music, but this was not always the case.  It is easier to make a comparison between Clarinet and Cornet parts.

Below are two parts of the 1904 march “South Street” by Hall King (edited by T. E. Bulch).  Here we can see clearly that the Clarinet part neatly doubles the Solo Cornet, in parts up the octave (King, 1904a, 1904b).  The range of the Clarinet obviously makes this easy to do, and musically this would make sense. These Clarinet parts would be taken up by an Eb Soprano Cornet in todays brass bands.

19040000_Suttons_South-Street-CL1
(Source: Victorian Bands’ League Library & Archive)
19040000_Suttons_South-Street-SoloC
(Source: Victorian Bands’ League Library & Archive)

Most of the brass band music that was printed in these times originated from large publishing houses in the form of journals, the parts above being published by Suttons Proprietary Limited.  Here we see that this journal of brass band music included parts for Reeds, so obviously Clarinets, and possibly Saxophones, were catered for.  Suttons was not the only Australian music publishing company that included parts for Clarinets in their journals of music.  The two march cards below of the marches “Artillery” by Alex Lithgow and “Newtown” by T. E. Bulch were published by Allans & Co. (Bulch, 1901; Lithgow, n.d.).

00000000_Allans_Artillery_2CL
(Source: Victorian Bands’ League Library & Archive)
19010000_Allans_Newtown_2CL
(Source: Victorian Bands’ League Library & Archive)

Obviously, the publishing companies found there was a market for Clarinet, Saxophone and Piccolo parts and composers would have been encouraged to include these parts in their compositions – although, given the similarities in keys, maybe this was up to arrangers.  After having some discussion with Dr. Richard Mason on this topic, extra money for publishers and composers to produce Clarinet parts was assumed (Mason, 2020).  Possibly the real reasons cannot be found, however, the production of specific music to cater for extra instruments added some legitimacy to woodwinds being included in brass bands.

Brass bands with woodwinds:

19060000_Wunghnu-Brass-Band_phot14255
Wunghu Brass Band, 1906 (Source: IBEW)

As mentioned in the opening of this post, Clarinets and other woodwinds were part of brass bands in Australia for around forty years.  We can find some evidence of this from early newspaper articles.  It is claimed that Saxophones were added to brass bands in Australia as early as 1890, although, as mentioned in the linked article, this was a matter of conjecture (“The Saxophone,” 1934).  Other bands were more forthcoming over what they had in their band.  In August 1893, an article regarding the early history of the Dandenong Brass Band was published in the South Bourke and Mornington Journal. It seems that when the Dandenong Brass Band was formed in 1885, it comprised of ten members; three Cornets, two Piccolos, two Tenors, one Baritone and one Clarionet (using this unique spelling) (“DANDENONG BRASS BAND.,” 1893).  Likewise, in 1899, a public meeting was held in Tallangatta with the aim of (re)forming a brass band.  Several participants in the meeting spoke in support, one of them was a Mr A. J. Fortescue,

…speaking as a member, observed that the old band had died through want of proper management and lack of public interest.  If formed on proper lines, with a good committee, he thought a band would prosper there.  There were sufficient of the old brass instruments on hand for a start, but there would be some repairs needed.  There would be wanted a piccolo and two drums.  In reply to a question from the chairman, he stated that with a sum of £20 they could make a fairly good start.

(“BRASS BAND FOR TALLANGATTA.,” 1899)

In January 1904 the Linton Brass Band held their annual general meeting, and they were another brass band that boasted a piccolo in their instrumentation.

The band has a stock consisting of one big drum, one side drum, three B flat cornets, two B flat Euphoniums, one E flat bass, one E flat piccolo.

(“LINTON BRASS BAND,” 1904)

These were brass bands in their early years.  Yet twenty years later, as can be seen in the list of musicians in the Wagga Wagga Concert Band (below), a Clarinet was part of the ensemble (“WAGGA CONCERT BAND.,” 1921).  And in 1926 the Gnowangerup District Brass Band from Western Australia was proud to announce that they had added a new Clarionet to the band (“Gnowangerup District Brass Band.,” 1926).

19210303_Young-Witness_Wagga-CB_Clarionet
Young Witness, 03/03/1921, p. 2

There are of course numerous other examples of woodwind instruments appearing in early brass bands of which the above mentioned are a small number of instances.

Competitions:

When in competition, the woodwinds of brass bands were mostly treated the same as any other brass instrument, and they also received the same criticism as well.  There are some examples of woodwinds being mentioned in competition, although this was mainly related to Clarinets and Saxophones.  Even the famous Royal South Street competitions had sections for Clarinets and at times Saxophones over the course of a decade.

The year is 1899 and in September, Northcott’s Bendigo City Brass Band, conducted by Mr. O. Flight, had travelled to Echuca to take part in a small regional competition adjudicated by the famous Mr. E. Code.  The article here details the adjudication of their program and at one point both the Clarinet and Piccolo were mentioned:

Largo – Clarionet and cornets not in tune ; cornet has good taste ; accompaniments too loud ; cornet not clean at bar 17 ; piccolo a little out of tune at bars 18 and 19 ; bass too loud at bar 20.

(“NORTHCOTT’S BENDIGO CITY BRASS BAND.,” 1899)

Regarding South Street, they added another layer of legitimacy by having sections specifically for woodwinds included in the brass solo competitions.  As can be seen in the lists of entries (which can be acccessed from the links), the Clarinet & Saxophone sections attracted musicians from all over Australia.  Below is a list of competitions held over ten years (with some gaps), with the woodwind instruments that were included each year:

(Royal South Street Society, 1906, 1907, 1908, 1910, 1911, 1914, 1915, 1916)

Unfortunately, there are some gaps in the list due to lack of data however, it is known that a brass solo competition was held in 1912 which included a Clarionet section (Trombone, 1912).

As well as the records from Royal South Street, we also have articles in newspapers that provide the adjudication of Clarinettists.  This article published in the Ballarat Star (below) in October 1915 is a prime example of an adjudication.  The adjudicator of this section was the famous Albert Wade (“SOUTH STREET COMPETITIONS.,” 1915).

19151022_Ballarat-Star_Wade-Clarionet
Ballarat Star, 22/10/1915, p. 6

What of the Saxophonists?  It is seen in the Royal South Street lists that Saxophones were only able to compete in sections for four years.  However, other opportunities for them to integrate with bands were limited to military bands.  That does not mean they were completely forgotten.  In a forward thinking move, Saxophones were provided their own section in a “novelty” event at the Interstate Band Contest in Perth, February 1931 (“SAXOPHONE COMPETITION,” 1931).  The reasoning was understandable at the time.

Hitherto the saxophone has not been considered to be a true brass band instrument, and therefore ineligible for registration under the W.A. Band Association contest rules.  The contest committee, however, obtained permission from the association to include the competition in its program, and fourteen entries have been received.  There are a number of capable executants among the entrants, and as the choice of the solo is left to the competitor, a varied range of saxophone music may be reasonably anticipated.

(“SAXOPHONE COMPETITION,” 1931)

The recognition by competition societies that woodwinds had a place in their own sections was well-meaning and forward thinking.  While they were brass band centric, all instruments of the brass band were included, even if they were not strictly brass.

Conclusion:

19100000_Brisbane-Concert-Band_phot8024
Brisbane Concert Band, 1910 (Source: IBEW)

The thought of woodwinds in brass bands would probably raise the eyebrows of many brass band purists. Yet, like many other stories of the brass band world, it is one that is worth exploring, if only for the novelty.  One wonders how these early brass bands would have sounded with limited woodwinds playing similar parts.  The history and sheet music tell us that woodwinds existed in brass bands.  As do some of the pictures, like the Brisbane Concert Band above.

References:

Blakiston, C. (1911, 22 April). A MILITARY BAND : How it is made up. Geelong Advertiser (Vic. : 1859 – 1929), 7. http://nla.gov.au/nla.news-article149205289

BRASS BAND FOR TALLANGATTA. (1899, 18 February). Ovens and Murray Advertiser (Beechworth, Vic. : 1855 – 1918), 9. http://nla.gov.au/nla.news-article199465362

Bulch, T. E. (1901). “Newtown” (2nd Clarionet Bb) : (Dedicated to Thos. Mellor Esq. Bandmaster). [March Card]. Allans & Co. 

CLARINETS IN THE BRASS BAND. (1918, 09 May). Every Week (Bairnsdale, Vic. : 1914 – 1918), 3. http://nla.gov.au/nla.news-article153439388

Colouhoun, J. (1900). Malvern Town Military Band [Photograph]. [phot11448]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

DANDENONG BRASS BAND. (1893, 02 August). South Bourke and Mornington Journal (Richmond, Vic. : 1877 – 1920; 1926 – 1927), 2. http://nla.gov.au/nla.news-article70015776

Gnowangerup District Brass Band. (1926, 10 July). Gnowangerup Star and Tambellup-Ongerup Gazette (WA : 1915 – 1944), 3. http://nla.gov.au/nla.news-article158909246

King, H. (1904a). “South Street” (1st Clarionet). [March Card]. Suttons Proprietary Limited. 

King, H. (1904b). “South Street” (Solo Cornet). [March Card]. Suttons Proprietary Limited. 

LINTON BRASS BAND. (1904, 13 January). Ballarat Star (Vic. : 1865 – 1924), 4. http://nla.gov.au/nla.news-article210140838

Lithgow, A. F. (n.d.). “Artillery” (2nd Clarionet). [March Card]. Allans & Co. 

Mason, R. W. (2013). The clarinet and its protagonists in the Australian New Music milieu from 1972 to 2007 (Publication Number 38294) [PhD, The University of Melbourne, Faculty of VCA & MCM, Melbourne Conservatorium of Music]. Minerva Access. Melbourne, Victoria. http://hdl.handle.net/11343/38294

Mason, R. W. (2020, 14 June). Phone call with Dr Richard Mason regarding the use of Clarinets in brass bands [Interview]. 

Myers, A. (2000). Instruments and Instrumentation of British Brass Bands. In T. Herbert (Ed.), The British brass band : a musical and social history (pp. 155-186). Clarendon Press ; New York : Oxford University Press. 

NORTH HOBART BAND : New Bandmaster Welcomed. (1916, 05 September). Daily Post (Hobart, Tas. : 1908 – 1918), p. 3. Retrieved from http://nla.gov.au/nla.news-article191143234

NORTH HOBART BAND : New Bandmaster Welcomed. (1916, 05 September). Daily Post (Hobart, Tas. : 1908 – 1918), 3. http://nla.gov.au/nla.news-article191143234

NORTHCOTT’S BENDIGO CITY BRASS BAND : Conductor – Mr O. Flight. (1899, 22 September). Riverine Herald (Echuca, Vic. : Moama, NSW : 1869 – 1954; 1998 – 2002),2. http://nla.gov.au/nla.news-article115017023

Royal South Street Society. (1906, 30 October). 1906-10-30 Brass Solo Contests. Royal South Street Society. Retrieved 26 August 2019 from https://results.royalsouthstreet.com.au/results/1906-10-30-brass-solo-contests

Royal South Street Society. (1907, 22 October). 1907-10-22 Brass Section. Royal South Street Society. Retrieved 11 June 2020 from https://results.royalsouthstreet.com.au/results/1907-10-22-brass-section

Royal South Street Society. (1908, 20 October). 1908-10-20 Brass Solo Contests. Royal South Street Society. Retrieved 11 June 2020 from https://results.royalsouthstreet.com.au/results/1908-10-20-brass-solo-contests

Royal South Street Society. (1910, 18 October). 1910-10-18 Brass Solo Contests. Royal South Street Society. Retrieved 20 July 2019 from https://results.royalsouthstreet.com.au/results/1910-10-18-brass-band-contests

Royal South Street Society. (1911, 24 October). 1911-10-24 Brass Band Solos. Royal South Street Society. Retrieved 11 June 2020 from https://results.royalsouthstreet.com.au/results/1911-10-24-brass-band-solos

Royal South Street Society. (1914, 20 October). 1914-10-20 Brass Solo Contests. Royal South Street Society. Retrieved 11 June 2020 from https://results.royalsouthstreet.com.au/results/1914-10-20-brass-solo-contests

Royal South Street Society. (1915, 21 October). 1915-10-21 Brass Solo Contests. Royal South Street Society. Retrieved 11 June 2020 from https://results.royalsouthstreet.com.au/results/1915-10-21-brass-solo-contests

Royal South Street Society. (1916, 30 October). 1916-10-30 Brass Solo Contests. Royal South Street Society. Retrieved 11 June 2020 from https://results.royalsouthstreet.com.au/results/1916-10-30-brass-solo-contests

The Saxophone : Who Brought it to Australia. (1934, 06 January). Voice (Hobart, Tas. : 1931 – 1953), 2. http://nla.gov.au/nla.news-article218832762

SAXOPHONE COMPETITION : Interstate Band Contest. (1931, 02 January). Daily News (Perth, WA : 1882 – 1950), 4. http://nla.gov.au/nla.news-article83492508

SOUTH STREET COMPETITIONS : Brass Section Continued : Mr A. Wade, Adjudicator : Clarionet Solo. (1915, 22 October). Ballarat Star (Vic. : 1865 – 1924), 6. http://nla.gov.au/nla.news-article154562484

Trombone. (1912, 29 October). BANDS AND BANDSMEN. Daily Post (Hobart, Tas. : 1908 – 1918), 3. http://nla.gov.au/nla.news-article189103747

WAGGA CONCERT BAND. (1921, 03 March). Young Witness (NSW : 1915 – 1923), 2. http://nla.gov.au/nla.news-article113606153

Wunghnu Brass Band. (1906). [Photograph]. [phot14255]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

Australian society and brass bands: The Pneumonic Influenza pandemic of 1919

Jeremy de Korte2 Comments
19190624_AIF_VAD-Band_phot16531
Bandys Picnic June 24th 1919. Photo was taken at an Australian camp in England. (Source: IBEW)

Introduction:

Early in 1918 it began to be whispered that a new plague, the first pandemic scourge of the present world war, had made such inroads upon the German military machine, as well upon the “home front” behind, that the Western offensive had to be postponed until the worst of it was over.  The end of the third week in March saw this point reached, and the onslaught began.

(Hirshberg, 1919)

So wrote M.D. Leonard Keene Hirshberg in an article for the Australasian newspaper in March 1919.  The years of 1918, 1919 and 1920 were tumultuous times for society with the end of the First World War, the return of service men and women to homelands, and this horrific pandemic.  This influenza touched every corner of the globe and has been noted in medical and social history.

This post will be about some of the local responses to the pandemic and the effect it had on the nations brass bands as they were nominally affected by what was going on around them.  There were several ways the bands were affected, some through loss of members, others through loss of rehearsal spaces and performances, and other bands sought to keep up morale by continuing as best they could under the circumstances.  Pandemic rules and responses from national, state, and local government meant that the bands had to adapt to an ever-changing situation.

Some might consider that there are parallels between this time and ours with many of our community bands in enforced recess.  However, as they were back then, the bands were resilient enough to survive and continue to make music.  I personally give my respect to all Australian bands and band members who are in recess due to the COVID-19 pandemic – this post is dedicated to you all.

The “Spanish” Influenza:

For want of a more accurate name this modern plague, the like of which has not been experienced by humanity for 400 years, has commonly been called Spanish influenza.  Yet it did not originate in Spain, nor was it exactly the grippe or influenza of other days.

(Hirshberg, 1919)

To provide some context, a little history of the influenza must be explored.  Hirshberg was right, the influenza did not originate in Spain.  It was given this name as the then King of Spain was one of the more high-profile sufferers of this pandemic (he survived) (McQueen, 1976).  Most accounts tell of a milder influenza originating in the USA and American troops bringing this form over to Europe in 1918, which then mutated and rapidly spread around the world (McQueen, 1976).  This “Spanish” Influenza is reputed to have killed more than 50 million people around the globe (National Museum Australia, 2020).

Australia must face the fact that the scourge which has taken so heavy a toll from the rest of the world has invaded her own frontiers.

(“Influenza,” 1919)

Australian troops that were demobilising and convalescing in Britain were hard hit, as were troopships (McQueen, 1976).  Australia was forewarned and enacted various quarantine measures in late 1918.  Despite this, the influenza did arrive in Australia with returning troops and “40 per cent of the population fell ill and around 15,000 died.” (National Museum Australia, 2020).  While countries such as New Zealand and South Africa sustained heavy loses, Australia appears to have got off lightly in comparison.  What made this influenza so dangerous was that it was indiscriminate and affected age groups beyond the usual sufferers of influenza with young adults being particularly affected (National Museum Australia, 2020).

Victoria has today been declared an ‘infected’ state on account of the presence of pneumonic influenza which appears to be spreading fairly rapidly.

(Vosti cited in Frost, 2012, p. 104)

The first case of this influenza in Australia was recorded in January 1919 in Melbourne (National Museum Australia, 2020).  Around Australia, Federal cooperation was fragmented and States closed their borders, set up quarantine stations, camps and emergency hospitals, and imposed social restrictions (McQueen, 1976).  Times of infection varied depending on location and travel.  While much of Eastern Australia faced the influenza from early 1919, the first case did not appear in Perth until June 1919 (National Museum Australia, 2020).  By the end of 1919, this influenza pandemic had largely abated (National Museum Australia, 2020).

The bands are affected:

19180000_St-Arnaud_Soldiers-Parade_3361762672_o
Band leading a Returned Soldiers’ march at St Arnaud in 1918 (Source: HistoryInPhotos)

Society is the big picture; brass bands are a microcosm of society.  And as mentioned in the opening of this post, brass bands were affected in several ways.  To start with we can look to New Zealand which suffered through the influenza pandemic at a slightly earlier time frame than Australia, and their brass bands were similarly affected.  In November 1918, a Mr Cyril Warin died at the Auxiliary Hospital in Warkworth, aged 19.  He was noted as being “very musical, and was a member of the local brass band” (“Mr. Cyril Carson Warin,” 1918).  A champion drummer of New Zealand and member of the Masterton Brass Band, Mr John Page died in December 1918 (The Referee Special, 1918).  However, in more positive news for one NZ brass band, the Kaitangata Brass Band “obtained permission from the Health authorities to resume their musical practices, which were suspended during the epidemic” (“Kaitangata News,” 1918).

In Australia, local bands started experiencing the impacts soon after the first cases of the influenza appeared.  The Boolaroo Brass Band was to have held a sports carnival in aid of the band in February, only to have it cancelled – this was a decision of their committee (“BOOLAROO.,” 1919).  However, the Boolaroo Brass Band did participate in the welcoming home of a local soldier from France in this week of February (“BOOLAROO.,” 1919).  Further south in Tasmania, the Stanley Brass Band found itself without a rehearsal room as their building at the showgrounds was taken over by the council for a hospital (“Local and General.,” 1919).  All was not completely lost as the local council arranged for the band to rehearse in the local school (“Local and General.,” 1919).

Newcastle Morning Herald and Miners’ Advocate, 14/02/1919, p. 5

The Ipswich Brass Band had the distinct misfortune to be south of the Queensland border in New South Wales when the State border was closed.  They were interred with many other Queenslanders in a temporary quarantine station set up on the Tenterfield showgrounds.  However, they put their time to good use presented some impromptu concerts to entertain the other internees (“INFLUENZA.,” 1919).

An interesting discussion took place amongst the Richmond City Council (Melbourne, Vic.) in March 1919 over the activities of two of the local bands and proximity to the local hospital, which was no doubt treating influenza patients.  Initially, the council had declined an application from the Richmond Juvenile Brass Band for the use of the City Reserve, similar to an application, which was also declined, made two weeks earlier by the Richmond City Band (“City Reserve Not Available,” 1919).  The reason for both applications being declined by council was the “assembling of a large number of persons” (“City Reserve Not Available,” 1919).  The second part of this issue was the proximity of the local hospital to the reserve, and the city band room.  One councillor argued that patients “would be disturbed by the band performance” while another councillor took the position that the sounds of the band would be appreciated (“City Reserve Not Available,” 1919).  The refusal of applications for use of the reserve was upheld by the council.

00000000_Dapto-Brass-Band_phot11479
Dapto Brass Band (date unknown). (Source: IBEW)

In April 1919, the activities of one local band was disrupted with the Dapto Brass Band being the victim of an unfortunate set of circumstances.  It must be noted that safety was important however, the loss of a function to aid the band (as detailed in the article below), would have hurt the band financially (“SAFETY FIRST,” 1919).

19190419_Sun_Dapto-BB_Flu-Scare
The Sun, 15/04/1919, p. 5

By the death of the late Frank W. Haase (Vice-President and late Organising Secretary), the Band Association of New South Wales has lost and esteemed officer and valuable worker, and the community at large a good citizen.  A victim of the deadly pneumonic influenza his demise was sudden, many in fact, not knowing of it till some days after.”

(Atkins, 1919)

Sadly, the bands, as in society, felt the loss of their members due to the influenza.  In May 1919 the President of the Stawell Brass Band, a Mr David John Thomas, passed away due to influenza (“STAWELL.,” 1919).  The obituary tells of a man that was embedded in his community and participated in a wide variety of activities.  Likewise, the passing of Mr. R. L. Tulloch of Morwell from influenza was also keenly felt by the town.  He was only 26, a father of three young children, a fit gentleman who also participated in a range of activities including being a member of the Morwell Brass Band (“Influenza Victim.,” 1919).

19190510_Ballarat-Star_Stawell-Obiturary
Ballarat Star, 10/05/1919, p. 6

Influenza very prevalent in Moonee Ponds and Ascot Vale though mostly in a mild form.

(Vosti cited in Frost, 2012, p. 127)

For other bands, the times were tough as detailed in some reports presented at Annual General Meetings.  The Taree Civilian Band, while surviving through enforced recess, found itself without a bandmaster as he had taken up an appointment as bandmaster of the Port Kembla Brass Band (they soon appointed a new bandmaster) (“Taree Civilian Band.,” 1919).  In the AGM report, the secretary Mr. F. W. Barnett also makes mention of the effects of the influenza where he noted,

Owing to the unfortunate outbreak of influenza the band has been in enforced recess for the last couple of months, but notwithstanding this Mr Drake was able to get a scratch band together for the Peace Day celebrations on July 19.  The band has now resumed regular practice and will be before the public in the near future.

(“Taree Civilian Band.,” 1919)

The Franklin Brass Band had faced similar difficulties throughout this time period and said as much in their annual general meeting report.  This meeting, which was the first since they reformed after a five-year recess, told of the difficulties brought on by the great war and the influenza epidemic (“FRANKLIN BRASS BAND,” 1919).  To the band’s credit, the retiring secretary of the band had worked hard to reduce the debt from five years ago despite the “stressing times” (“FRANKLIN BRASS BAND,” 1919).

00000000_Franklin-Brass-Band_phot17032
Franklin Brass Band (Date unknown). (Source: IBEW)

The ‘flu has kept bands back.

The epidemic is passing in New South Wales, New Zealand and Victoria.

Ere long Queensland will be free, and all other States and their banding will go ahead.

Bands will do well to keep preparing for peace celebrations.

(“Short Notes and Personals,” 1919)

With life gradually returning to normal by the end of 1919, the effects of the epidemic were still being felt and in early 1920 we find little stories of bands being called upon to provide their services.  In the tiny town of Westonia, located halfway between Perth and Kalgoorlie, the local band was called upon to help commemorate “the unveiling of two tablets over the graves of W. Lockie and Vic Fuhrman (victims of the recent influenza epidemic)” (“‘LEST WE FORGET.’,” 1920).   Both men had returned from active service in the First World War.

Conclusion:

It has been interesting documenting some of the little band stories from 1919 as there were a variety of ways in which bands reacted to the rapidly changing circumstances.  At times the circumstances were beyond their control, however, this did not stop them trying to carry on their operations as normal.  If there is anything to be learnt from 1919 is that bands, for the most part, survived and thrived.

19190000_Riggs-Brass-Band-Gawler_photo821
Rigg’s Brass Band Gawler, 1919 leading a parade of returning servicemen. (Source: IBEW)

References:

Atkins, W. D. (1919). The Late Frank W. Haase, A Tribute [Obituary]. The Australasian Bandsman, 32(10), 3-4. 

Bandy’s Picnic June 24th 1919 : The best of the 300 Sisters, V.A.D.’s, Patients were shy. (1919). [Photograph]. [phot16531]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

BOOLAROO. (1919, 14 February). Newcastle Morning Herald and Miners’ Advocate (NSW : 1876 – 1954), 5. http://nla.gov.au/nla.news-article139644485

City Reserve Not Available for Band Performances — Would Music be Soothing to Sufferers in Hospital? (1919, 01 March). Richmond Guardian (Vic. : 1907 – 1920), 2. http://nla.gov.au/nla.news-article255877197

Dapto Brass Band. (n.d.). [Photograph]. [phot11479]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

FRANKLIN BRASS BAND. (1919, 09 December). Huon Times (Franklin, Tas. : 1910 – 1933), 3. http://nla.gov.au/nla.news-article140944253

Franklin Brass Band. (n.d.). [Photograph]. [phot17032]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

Frost, L. (2012). Bandsman Vosti’s Diaries : war and peace in Essendon, 1917-1920. Lenore Frost. 

Hirshberg, L. K. (1919, 29 March). “SPANISH” INFLUENZA. Australasian (Melbourne, Vic. : 1864 – 1946), 32. http://nla.gov.au/nla.news-article140221010

HistoryInPhotos. (2009, 16 March). Band leading a Returned Soldiers march at St Arnaud in 1918 [Photograph]. flickr. Retrieved 20 January 2020 from https://www.flickr.com/photos/historyinphotos/3361762672/in/album-72157613028413958/

Influenza. (1919, 28 January). Sydney Morning Herald (NSW : 1842 – 1954), 6. http://nla.gov.au/nla.news-article15822176

INFLUENZA : Seven Deaths To-day : Another Victim in Sydney – Case from Argyllshire. (1919, 12 February). Telegraph (Brisbane, Qld. : 1872 – 1947), 2. http://nla.gov.au/nla.news-article176303325

Influenza Victim. (1919, 01 August). Morwell Advertiser (Morwell, Vic. : 1888 – 1954), 3. http://nla.gov.au/nla.news-article65922832

Kaitangata News. (1918, 13 December). Clutha Leader, 3. https://paperspast.natlib.govt.nz/newspapers/CL19181213.2.7

‘LEST WE FORGET.’ : Unveiling Ceremony by the R.S.A. (1920, 07 February 1920). Westonian (WA : 1915 – 1920), 2. http://nla.gov.au/nla.news-article212529404

Local and General : Bandroom Wanted. (1919, 19 February). Circular Head Chronicle (Stanley, Tas. : 1906 – 1954), 2. http://nla.gov.au/nla.news-article162263034

McQueen, H. (1976). The ‘Spanish’ Influenza Pandemic in Australia, 1918-19. In J. I. Roe (Ed.), Social policy in Australia : some perspectives, 1901-1975 (pp. 131-147). Cassell Australia. 

Mr. Cyril Carson Warin. (1918, 27 November). Rodney and Otamatea Times, Waitemata and Kaipara Gazette, 5. https://paperspast.natlib.govt.nz/newspapers/ROTWKG19181127.2.14.6

National Museum Australia. (2020). 1919: Influenza pandemic reaches Australia. National Museum Australia. Retrieved 15 May 2020 from https://www.nma.gov.au/defining-moments/resources/influenza-pandemic

Rigg’s Brass Band Gawler. (1919). [Photograph]. [photo821]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

SAFETY FIRST : Scare Spoils Social. (1919, 15 April). Sun (Sydney, NSW : 1910 – 1954), 5. http://nla.gov.au/nla.news-article221450689

Short Notes and Personals. (1919). The Australasian Bandsman, 32(10), 2-3. 

STAWELL : Obituary. (1919, 10 May). Ballarat Star (Vic. : 1865 – 1924), 6. http://nla.gov.au/nla.news-article212640834

Taree Civilian Band. (1919, 02 August). Northern Champion (Taree, NSW : 1913 – 1954), 3. http://nla.gov.au/nla.news-article157096567

The Referee Special. (1918, 18 December). INFLUENZA : Heavy Losses Sustained in Sport and Stage. Referee (Sydney, NSW : 1886 – 1939), 7. http://nla.gov.au/nla.news-article120312959

Choosing music and grading bands: The unenviable tasks of band associations and their music advisory boards

Jeremy de Korte2 Comments

Introduction:

Administering band associations was, and is even now, never an easy task.  Granted, the first focus of early band associations was managing the affiliations of member bands, forming rules and running competitions.  These tasks aside, there was little else they did.  In this arcane and insular world of administration, decisions that the early band associations made were at times difficult to understand and criticism was rife.  It can be seen in previous posts on the history of the National Band Council of Australia and the experiences of bands in South Street just how peculiar some administrative decisions could be.  In their defence however, we can also see that the associations were acting on the information that they had available at the time, and that some questionable decisions can simply be attributed to a lack of communication.

This post is focusing on aspects of band administration where the difficult decisions of band grading and choices of music were made by sub-committees known as Music Advisory Boards.  These noted groups of bands people, often adjudicators and conductors, made recommendations to band associations.  While some records are not as informative as they could be, the Trove archive gives us some clues as to how they operated.

It is an interesting portion of band history where some bands people desired more of a focus on the music but recognized the value of association.  Balancing these two ideals was a challenge!

Music Advisory Boards and Choosing music:

19330706-(19330714)_VBL-AGM-P1
A section of the Victorian Bands’ League Annual Report 1933, p. 1 ( Source: Victorian Collections: Victorian Bands’ League)
19200814_Herald_J-Booth-Gore
Herald, 14/08/1920, p. 16

Above is part of the first page of an annual report presented by the Victorian Bands’ League at their second Annual General Meeting on 14th July 1933.  Prominently displayed on this first page are all the officers of the League; Delegates, Administrators, Conductors and Adjudicators, representing country, regional and metropolitan areas.  A good mix of people at the time to run the fledging League!  There is one group of musicians listed on this page that warrants special mention and is nominally the focus of this post – the Music Advisory Board.

It was not always possible to discern why the Music Advisory Boards existed in the first place.  Through research in the Trove archives, it was mentioned that they did exist, but their exact purpose in assisting the Associations was harder to find – however their contemporary counterparts operate in much the same way so we can apply this knowledge back over the years.

This post is not trying to dismiss the operations of other State band associations and their MAB’s.  However, the Victorian Bands’ Association and Victorian Bands’ League provided the most information through newspaper articles as to who was included in their MAB’s over the years.  Which means it presents a perfect case study of how the personnel changed (or did not change) over the years.  Below is a table detailing the members of the Victorian MAB over a time period of thirteen years.  Knowing Victorian band history, we can see that these musicians were all eminent conductors/adjudicators who displayed an extensive knowledge of brass band repertoire.  And they were all conductors of Victorian A Grade bands.

1920 – VBL1922 – VBA1927 – VBA1933 – VBL
P. CodeJ. Booth-GoreP. CodeJ. Bowden
P. JonesL. HoffmanF. C. JohnstonJ. Booth-Gore
H. R. ShuggF. C. JohnstonP. JonesF. C. Johnston
 P. JonesR. McCaskillA. H. Paxton
 H. NivenH. R. ShuggH. R. Shugg
 H. R. Shugg  
(Source of table data: “BAND ADJUDICATOR,” 1920; “BRASS BANDS REGRADED.,” 1927; Drummer Boy, 1922; “VICTORIAN BAND ASSOCIATION,” 1920; Victorian Bands’ League, 1933)
19200807_Herald_J-Bowden
Herald, 7/08/1920, p. 17

What is obvious here is the consistency of some of the appointments namely Percy Code, Percy Jones, Frank “Massa” Johnston, and Harry Shugg.  Some pictures of these bandsmen are on the side of this post.  We could assume that with the passage of time, if the same people were well-regarded in that role then they would continue to serve.  The interesting fact about the Victorian MAB members is that they carried through the changeover from the VBA to the VBL.  On a side note, given that many of these conductors were working with metropolitan bands at the time they would have been the instigators of the VBL in the early 1930s.

There were some occasions regarding band competitions where MAB’s were not involved in choosing music.  We can see articles published in the Advocate newspaper in 1921 and 1927 that Percy Jones was the adjudicator of the popular New Year’s Day Burnie carnival band competition (“BURNIE.,” 1927; “BURNIE CARNIVAL.,” 1921).   However, it is in the 1927 article where we can see that Percy Jones himself made recommendations to the Burnie Athletics Club on the choice of music for the next carnival band competition:

Last year’s band adjudicator, Mr. Percy Jones, wrote recommending that “Gournod (Rimmer)” and “A Garland of Classics (Rimmer)” be chosen as test pieces for the B and C grade contests respectively, at the next carnival.  The recommendation was adopted, on the motion of Messers Southwell and Trethewey.  It was also decided to continue negotiations with a view to obtaining an adjudicator from New South Wales for the next carnival.  Last year’s rule that the own choice selection be made from National Airs was again adopted.”

(“BURNIE.,” 1927)

One notable criticism of the music choices made by MAB’s came from Cecil Clarence Mullen in his booklet, Mullen’s Bandsmen of South Street (1900-1951).  We know from a previous post that Mullen was very opinionated, and it is not clear how much influence he wielded through his writings, especially his booklet.  He wrote:

Some years ago the Advisory Board of selectors introduced a new type of Test Selection for South Street band contests.  These are mostly technical works and appreciated by bandmasters and players, the musicianship point of view has only been taken into consideration.  Our contests promoters and managers have been overlooked the fact that one party – the public who pay to attend contests – have been left out.  Statistics show clearly that all the largest crowds at the South Street competitions were in the years from 1900 to 1924, when the operatic brass band arrangements were chosen for Test Selections. […] Technical works are all very well for those of us who understand them, but they are cold and colourless to the general listener as he cannot follow them and does not know what they are all about.

(Mullen, 1951, p. 6)
19200911_Herald_P-Code
Herald, 11/09/1920, p. 14

Now while Mullen might be right about the years when the largest crowds attended the brass band competitions at South Street, it must be recognized that he was merely expressing his opinion and it might be a short stretch to link crowd numbers with choices of music.  He went on further in this section of the booklet to explain his reasons for wanting more operatic arrangements in the band competitions with the implied belief that they were far more musical than what current brass band composers were providing, and that they were more pleasing to the ears of the audience (Mullen, 1951).  He was especially taken with the operatic arrangements of Alexander Owen and he also wanted a sight-reading section to be introduced (Mullen, 1951).  This was not the first time Mullen wrote with favour on operatic works being played by bands.  In a later article he attributed the fine playing of bands in the early years to their playing of operatic works (Mullen, 1965).

Aside from Mullen, there appears to be a distinct lack of criticism in early newspapers regarding the choices of music made by the MAB’s.  Which contrasts with the criticisms levelled at State Band Associations and MAB’s regarding grading of bands.  Grading was a vexed issue, and this will be explored in the next section.

Music Advisory Boards, State band Associations and Grading:

To understand why grading does or does not work, it’s important to know a little history on how Associations applied grading to bands.  The first competition that included grading of some sort was in New South Wales at the 1896 Intercolonial Band Contest held in Sydney in November where bands were grouped into “first division” or “second division” (Greaves, 1996, p. 23).  In Victoria, the first five years of South Street from 1900-1905 were ungraded and, Mullen (1951) has provided some history as to how grading developed from 1905.

In 1905 the first “B” grade contest was arranged owing to some bands having progressed so much from the experience and tuition of former English bandmasters that it was thought younger combinations and country bands would have a better chance in a second class contest.  So fast did the better class bands progress, however, that it was thought that with many new bands starting that a “C” grade was held in 1909.

(p. 7)

Having only three grades was the status quo in Victoria until, according to available resources, a D grade was introduced in 1922 (“Victorian Bands’ Association,” 1922).

19210108_Herald_L-Hoffman
Herald, 8/01/1921, p. 11

Let us take a look at how bands moved up or down grades over some years.  Below are links to files that show the grades in certain years from Victoria, Queensland and Western Australia.  The Victorian dataset is more condensed as they show the grades in the years 1920, 1922, 1923, 1924, 1926 & 1927.  For Queensland, the dataset is more spread due to limited information and the files are based on information from the years 1913, 1919 & 1937.  Included is an example of grading presented by the Western Australian Band Association in 1932, which is very limited, however there’s an interesting discussion from the WABA meeting that took place that year.  All band lists were obtained from newspaper articles held in the Trove archive and can be accessed from the links in the citations.  The grade files will appear as PDF’s and can be downloaded.

Victorian Grades – 1920-1927:

(Source of Victorian grade data: “BAND ASSOCIATION,” 1923; “BRASS BANDS REGRADED.,” 1927; “CLASSIFICATION OF BANDS.,” 1926; “VICTORIAN BAND ASSOCIATION,” 1924; “VICTORIAN BAND ASSOCIATION,” 1920; “Victorian Bands’ Association,” 1922)

Queensland Grades – 1913, 1919 & 1937:

(Source of Queensland grade data: “Band Association.,” 1919; “GRADING THE BANDS.,” 1913; “NEW GRADING LIST,” 1937)

Western Australian Grades – 1932:

(Source of Western Australian grade data: Delegate, 1932)

19200828_Herald_P-Jones
Herald, 28/08/1920, pg. 19

The Victorian context is possibly a better example of grade history given the range of years.  Here we see a bulge– a smaller number of bands in A Grade and D Grade while B Grade is larger and C Grade having the most numerous amount of bands  Taking a look at the C Grade in particular, while the D Grade was introduced in 1922, in 1924 there is large expansion of bands in C Grade.  Whether this is down to the number of bands that affiliated that year, or general musical standard is open to interpretation.  1924 was certainly a golden year of bands, except for perhaps the A Grade where there were only three bands.  Regarding the A Grade, once the top bands were placed in that grade, they tended not to leave.  In 1926 and 1927 we see a jump in that number due to bands moving up from B Grade.

In Queensland it is a little more difficult to interpret the grading history given the lack of information, so a reliance on the available years is necessary.  However, there are some similarities with Victoria, especially in the middle grades.  In 1919 there is a large expansion in the number of bands in C Grade.  We also see some innovation on the part of the Queensland Band Association in 1937 where there is a D Grade, but there are also grades to cater bands that are from specific locations or age groups.  Here we see a “Sub D Grade (Country)” and a “Boy’s Band (Under 15 years)” (“NEW GRADING LIST,” 1937) which no doubt helped more bands participate in events.

The example from Western Australia is obviously small, but the list originates from an article published in the Sunday Times regarding a wide-ranging meeting held by WABA.  The regrading of bands was included in the discussion as an agenda item:

The matter of regrading the bands affiliated with the association was then proceeded with.  There are 17 in all, and prior to the 1931 contest these were graded as B or C.  This grading has since remained unaltered officially, but for the purpose of giving the 1931 contest a high “tone”, the grades were officially announced as A and B.  The question raised on Wednesday evening was whether to create a D grade from the smaller C grade bands or raise the status generally and make them A, B or C.  The latter course was eventually decided upon and each band was, after submission to the meeting, graded by a majority vote.  A suggestion that they should be graded according to the points awarded them by the adjudicator at the last contest was not accepted, though the idea found a good deal of support.

(Delegate, 1932)

Victoria offers more information on the roles of the MAB in the regrading process as the Queensland Band Association seems to have undertook this role themselves (there is no mention of a Queensland MAB).  The role of the MAB’s in advising on regrading is evident although it seems, at least in the early stages, that the V.B.A. undertook the regrading process with their MAB offering limited advice.  We see in 1920 that,

A report was submitted from the executive of the association dealing with the regrading of bands.  It contained replies from Messrs H. Shugg and P. Code, two of the advisory committee who both concurred in the proposed regarding as submitted by the executive…

(“VICTORIAN BAND ASSOCIATION,” 1920)

However, in 1922, the Victorian MAB was responsible for the regrading process:

The advisory board of the Victorian Bands’ Association, the headquarters of which are at Ballarat, has regraded bands for the ensuring year as follows…

(“Victorian Bands’ Association,” 1922)

And mention of the role of the MAB in regrading bands is again mentioned in articles from 1926 and 1927 (“BRASS BANDS REGRADED.,” 1927; “CLASSIFICATION OF BANDS.,” 1926).

This is not to say grading was always a smooth process and there were always levels of criticism from various parties, as well as disagreements between States – the rules were never fully unified.  As early as 1914 we can see letters in the papers regarding the grading of bands.  One letter from Mr S. E. Hambleton, then Secretary of the Collingwood Citizens’ Band stood out for its candidness.  Part of his letter was criticism while contributing his own ideas:

The band of which I am secretary has not won a cash prize for five years, and although I have made applications to be re-classified (claimed on two years’ rules), I am told that the Victorian Band Association would not listen to it as we are an A Grade band.  The other bands know this, and, of course, will not enter for the higher grade, with the promise, perhaps of a life sentence hanging over them.

Our band of 24 could be divided into three parts and absorbed by B Grade bands and allowed to play in B Grade.  Why not classify the individual players and thus stop good players in A Grade bands from becoming members of a lower grade through better inducements.  Collingwood and Prahran are the only two bands classed as A Grade, although there are four or five others advanced enough to compete in this grade.

Bands that have won C or B Grade contests should be placed in the class higher up and stay there for the stated time.  If they fail to secure a cash prize, allow them to go to the next grade down again.  Bands will not enter for a higher grade than they are classed in, for fear of winning a cash prize in it, being thereby debarred from competing in the grade that they had been classed in.

(Hambleton, 1914)

Again in 1914, a letter was published in Brisbane’s Daily Standard newspaper lamenting the grading process carried out by the Queensland Band Association after the Maryborough contests.  The writer, Mr W. Jackson, a Delegate of the Childers band, was obviously annoyed at the whole process and made this quite clear in his letter.  He wrote (in part),

…We were promised that the matter of grading the bands would be thoroughly gone into at an early date by the Q.B. Association.  What is the result?  Here we are three months before the August contest, and still in the same sorry plight.  Is it encouragement for the small country bands to go to Brisbane to contest against bands from the large cities as at Maryborough when the “C” grade championships was won by a band that probably should have been graded “B” at least?  I am afraid the same thing will occur again.  What I contend is that the “C” grade should be open for bands from the small country towns only, thus giving them some encouragement for them to fight on to better class music.

(Jackson, 1914)

It would be fair to say that both Mr Hambleton and Mr Jackson made some fair points re grading problems in their respective states.  They both knew their bands and how the administration worked.  We could assume that the State associations were trying their best in trying to please everyone but in some respects, it was never a perfect process.  Perhaps this was the reason MAB’s were formed to advise on grading.

As mentioned above, at times the rules and administration of different State associations came into conflict with each other regarding registration and grading.  One notable example was highlighted in Tasmania after another one of the contests in Burnie.  At a meeting of the Tasmanian Band Association in 1930, this was raised as an agenda item:

Very grave concern was expressed by the committee relating to the methods of grading and the registering of members of mainland bands which compete at the Burnie contests.  It was discovered by the delegates at the recent Burnie contests that one of the competing bands from the mainland had been able, only a few days before the closing date of registrations, to register no less than nine prominent players of other bands, and perhaps of a higher grade.  The regrading of bands on the registration for every contest might overcome the somewhat unfair aspect of this matter, but what is more desirable is uniform contests rules for all the States.  The T.B.A. is approaching the State association concerned on this occasion, with a view to a general tightening up of grading and registrations.

(“BAND ASSOCIATION,” 1930)
19210219_Herald_H-Niven
Herald, 19/02/1921, p. 16

…which is fine in theory but as discovered in the history of the National Band Council of Australia, unification of rules was an ideal that never really reached fruition despite the best intentions of State associations.

What we have seen in this small history are situations where the grading process was fraught with difficulty, did not please everyone and criticism was rife.  And it was a thankless task as the reputations of the early bands hinged on success in competition and the decisions of the State associations.  Most of the time it was done correctly.  On occasion there were problems.  With the influx of bands starting up and wanting to participate in events, grading them was a necessity that called upon the State associations to try to find solutions.  When this went wrong, the administration was generally found to be lacking.

Conclusion:

For the MAB’s involved in the processes of choosing music and advising on band regrading, generally they did the right thing and all they could really do was offer advice.  Thankfully, the reputations of the MAB members carried them through some of the decisions made by State associations.  Evidently the fact that many of the Victorian members held their positions for many years is a testament to their authority as prominent bandsmen.

We should thank these early members of the MAB’s for the foundations that they laid as the members of the modern MAB’s carry out their tasks in much the same way as they did back then.

19200724_Herald_H-Shugg
Herald, 24/07/1920, p. 11

References:

BAND ADJUDICATOR : For Newcastle Contest : Mr. Percy Jone’s Career. (1920, 04 December). Newcastle Sun (NSW : 1918 – 1954), 2. http://nla.gov.au/nla.news-article162621130

BAND ASSOCIATION : Deciding Championship. (1923, 21 August). Ballarat Star (Vic. : 1865 – 1924), 2. http://nla.gov.au/nla.news-article213824101

Band Association : Grading for the Contest. (1919, 20 November). Telegraph (Brisbane, Qld. : 1872 – 1947), 8. http://nla.gov.au/nla.news-article176840373

BAND ASSOCIATION : Registering and Grading. (1930, 24 January). Mercury (Hobart, Tas. : 1860 – 1954), 3. http://nla.gov.au/nla.news-article29151289

BRASS BANDS REGRADED. (1927, 18 October). Argus (Melbourne, Vic. : 1848 – 1957), 13. http://nla.gov.au/nla.news-article3885887

BURNIE. (1927, 17 June). Advocate (Burnie, Tas. : 1890 – 1954), 4. http://nla.gov.au/nla.news-article68241846

BURNIE CARNIVAL : New Years Day : Bright Prospects. (1921, 16 November). Advocate (Burnie, Tas. : 1890 – 1954), 4. http://nla.gov.au/nla.news-article69316043

CLASSIFICATION OF BANDS. (1926, 18 May). Argus (Melbourne, Vic. : 1848 – 1957), 8. http://nla.gov.au/nla.news-article3782670

Delegate. (1932, 21 August). BRASS BANDS : W.A. Association News : And General Notes. Sunday Times (Perth, WA : 1902 – 1954), 6. http://nla.gov.au/nla.news-article58669392

Drummer Boy. (1922, 21 October). BANDS AND BANDSMEN. Northern Star (Lismore, NSW : 1876 – 1954), 11. http://nla.gov.au/nla.news-article93411340

GRADING THE BANDS. (1913, 27 October). Queensland Times (Ipswich, Qld. : 1909 – 1954), 4. http://nla.gov.au/nla.news-article118654062

Greaves, J. (1996). The great bands of Australia [sound recording] [2 sound discs (CD)]. Australia, Sound Heritage Association. 

Hambleton, S. E. (1914, 13 January). EFFECT OF GRADING. Herald (Melbourne, Vic. : 1861 – 1954), 5. http://nla.gov.au/nla.news-article241657411

Jackson, W. (1914, 08 May). BAND GRADING : (To The Editor). Daily Standard (Brisbane, Qld. : 1912 – 1936), 3. http://nla.gov.au/nla.news-article178879778

Mullen, C. C. (1951). Mullen’s Bandsmen of South Street (1900-1951). Horticultural Press. 

Mullen, C. C. (1965). Brass bands have played a prominent part in the history of Victoria. The Victorian Historical Magazine, XXXVI(1), 30-47. 

NEW GRADING LIST ISSUED BY QUEENSLAND BAND ASSOCIATION. (1937, 12 November). Telegraph (Brisbane, Qld. : 1872 – 1947), 13. http://nla.gov.au/nla.news-article183521534

Quickstep. (1920a, 28 August). Bandsmen’s Gossip : A Knight of the Baton. Herald (Melbourne, Vic. : 1861 – 1954), 19. http://nla.gov.au/nla.news-article242311544

Quickstep. (1920b, 14 August). Bandsmen’s Gossip : A Meritorious Career. Herald (Melbourne, Vic. : 1861 – 1954), 16. http://nla.gov.au/nla.news-article242305795

Quickstep. (1920c, 07 August). Bandsmen’s Gossip : An Enthusiastic Conductor. Herald (Melbourne, Vic. : 1861 – 1954), 17. http://nla.gov.au/nla.news-article242306287

Quickstep. (1920d, 11 September). Bandsmen’s Gossip : Australia’s Great Soloist. Herald (Melbourne, Vic. : 1861 – 1954), 14. http://nla.gov.au/nla.news-article242308980

Quickstep. (1920e, 24 July). Bandsmen’s Gossip : Leader of Two Famous Bands. Herald (Melbourne, Vic. : 1861 – 1954), 11. http://nla.gov.au/nla.news-article242308343

Quickstep. (1921a, 19 February). Bandsmen’s Gossip : Noted Musical Qualities. Herald (Melbourne, Vic. : 1861 – 1954), 16. http://nla.gov.au/nla.news-article242256082

Quickstep. (1921b, 08 January). Bandsmen’s Gossip : St Vincent’s Bandmaster. Herald (Melbourne, Vic. : 1861 – 1954), 11. http://nla.gov.au/nla.news-article242259553

VICTORIAN BAND ASSOCIATION : Classification of Bands. (1924, 19 August). Ballarat Star (Vic. : 1865 – 1924), 1. http://nla.gov.au/nla.news-article213535974

VICTORIAN BAND ASSOCIATION : Special and General Meeting. (1920, 18 May). Ballarat Star (Vic. : 1865 – 1924), 2. http://nla.gov.au/nla.news-article211906214

Victorian Bands’ Association : Grading for the Year. (1922, 24 August). Age (Melbourne, Vic. : 1854 – 1954), 14. http://nla.gov.au/nla.news-article205773169

Victorian Bands’ League. (1933). Victorian Bands’ League : Annual General Meeting : Annual Report [Annual Report]. Victorian Bands’ League. https://victoriancollections.net.au/items/5b6a740621ea691478e4b482

Names and status: the rare National and State bands

Jeremy de Korte3 Comments
Postcard: Australian Silver Band, 1925. (source: Jeremy de Korte Personal Collection)

Introduction:

For the most part, the naming of bands is logical based on location, type, or business association. It stands to reason that if a band was associated with a town, then that would be the town band, however, there were a number of exceptions  – the naming of some of the early private bands comes to mind. Likewise, if a band was in a locality and associated with an industry, a similar naming convention would follow, such as Newcastle Steelworks or South Australian Railways.  This gave the bands identity and a purpose.  Where two bands existed in the same area, there was undoubtedly some disagreements, although not generally over naming but over status and prestige…and performances!  If a band was given an Australian or State name, that lifted their reputations almost immediately, yes?  Possibly, but there were other factors involved.

The focus of this post is to explore a level up from the local bands where we delve into the rare State and National bands.  Granted, there were not many of them.  In fact, in the time period that is being focused on in this post, these types of bands were thin on the ground.  In a previous post, the life of the ABC Military Band was explored, a unique ensemble in its own right and one that included bandsmen from all over Australia.  This was a representative band but different from the more common brass bands in that it included woodwind and percussion.  In this post, we will highlight brass bands.

Admittedly, there was some difficulty finding material on these rare bands due to their short periods of existence.  That being said, there were other bands in Australia aside from the more notable ones and mention will be made of them.  We will also see how a certain State band raised the ire of the governing body of its home State.

There is no doubt that being part of a National or State band was one that bandsmen aspired, and for the National bands, the best bandsmen were picked for a proposed or grand world tour.  The one State band that was set up did so in unusual circumstances and the naming of them as a State band brought them much recognition and pride.  With this in mind, National and State bands did exist and although they were sporadic and formed mainly for tours, they developed reputations in their own right and gave more bandsmen another musical outlet.

Early attempts:

State and National bands were mainly set up by organizations that had the resources to undertake such ventures.  Remembering that this was an older Australia where the distances between places were sometimes very vast, and it was not easy to move people anywhere. Yet in the first instance, we can see that the Salvation Army pulled this off in 1898 with the formation of a Federal Band.  An article which was published in the South Australian Register on the 14th of February 1898 is very informative and details the formation of the band and the tour it had undertaken thus far:

There is now in Adelaide an interesting band of clever musicians picked from the ranks of the Salvation Army.  It is styled “the Salvation Army Federal Band” and has twenty-five playing members, exclusive of Major Taylor (Victoria), who is their director.  The bandmaster is Ensign Cater (New Zealand), who takes up an instrument.  Counting in Major Taylor, the seven colonies of Australia are represented in the following order: – Victoria, eight; South Australia, five; Western Australia; four; New South Wales, three; New Zealand, three; Queensland, two; Tasmania, one; total, twenty-six.

(“SALVATION ARMY FEDERATION.,” 1898)

The Salvation Army had begun planning for this band twelve months in advance, with the aim of the band being “the kind of which should tour the colonies and encourage the members of the Army, and by producing music of a high order raise funds for the work in the different parts of Australasia” (“SALVATION ARMY FEDERATION.,” 1898).  By the time the band had reached Adelaide it had already toured from Melbourne to Western Australia, back to South Australia and from there had been to the Yorke Peninsula and Broken Hill (“SALVATION ARMY FEDERATION.,” 1898).  According to another article published in The Advertiser, the Federal Band was a very fine combination of musicians and presented a wonderful concert (“SALVATION ARMY.,” 1898).  As it is ever thus with Salvation Army bands.

The Sydney Morning Herald, 1/04/1908, p. 8

In 1908 a tiny article was published in The Sydney Morning Herald in which the title is misleading. As you can see in the article (pictured), there is no “Commonwealth Brass Band” that has been formed.  Rather, it is a proposal to secure the services of the Newtown Brass Band to perform at the Anglo-French Exhibition (“COMMONWEALTH BRASS BAND.,” 1908).  By all accounts, the Newtown Brass Band was very famous having won numerous competitions by this time and could have probably served as the Australian band at the exhibition (Greaves & Earl, 2001).  However, the Prime Minister apparently rejected this proposal for reasons unknown.

The Australian Imperial Band:

Postcard: Australian Imperial Band, 1924 (source: Jeremy de Korte personal collection)

In terms of true Australian brass bands, the main one that is spoken about is the ‘Australian Commonwealth Band’ which was conducted by the great Albert H. Baile on two world tours – but more will be talked about this band in the next section (Sharp, 1993).  However, preceding the ‘Australian Commonwealth Band’ was another ensemble which was known as the ‘Australian Imperial Band’ (AIB), formed by Mr. W. M. Partington in 1924 (“AUSTRALIAN IMPERIAL BAND.,” 1924).  Mr. Partington is mentioned in some references –  he did conduct the Ballarat City Band from 1909-1910 and numerous other bands (Pattie, 2010).  That did not stop certain newspapers like the Ballarat Star waxing lyrical about his musical and organisational abilities (“AUSTRALIAN IMPERIAL BAND COMING.,” 1924).  Nevertheless, it is evident that in much later years he managed to form a true National band and while it seems he never took the band to England, he did take it on tour throughout Australia.

Morning Bulletin, 9/01/1924, p. 8

1924 was an interesting year for Australian bands.  Perhaps the most notable event was the tour of the Newcastle Steelworks Band to England where it achieved astounding success in competition under the baton of Albert H. Baile (Greaves & Earl, 2001).  The AIB had wanted to go to England to compete but were unable to make the trip due to a lack of funds.  The Newcastle Steelworks Band then went in their place (Cameron, 2020). We see in an article from the Daily Telegraph in June 1924 that there was an amount of work going on to try and secure more funds:

In Sydney, the Lord Mayor (Ald. Gilpin) now is issuing an appeal for funds, which should meet with a good response, as it is necessary for each State to provide a proportionate amount of expenses to send the band to Wembley and to compete in the Crystal Palace contests.

(“AUSTRALIAN-IMPERIAL BAND,” 1924)

However, as discussed in a previous post on bands that went on tour, it is a very expensive undertaking and the picture of the AIB (below) published by the Mirror newspaper in Perth is telling.  One could assume that by the time the AIB reached Perth, their general touring money had run out.  Which is probably a reason why there is no mention of the band traveling to England.

19240809_Mirror_Aust-Imp-Band-Money
Mirror, 9/08/1924, p. 1

The length of time this band was in existence was short however they managed to get themselves together and go on a grand tour of Australia, to some very favorable reviews.  There is not much mention of the personnel of the band but given there were many quality bandsmen in the country at the time, finding gifted musicians was probably not a problem.

The Australian Commonwealth Band:

Postcard: Australian National Band – Concert Position, 1926 (source: Jeremy de Korte personal collection)
Postcard: Albert H. Baile, 1926 (source: Jeremy de Korte personal collection)

Albert H. Baile was one of the most famous band directors of this time and he had a masterful way of conducting his bands (Greaves & Earl, 2001).  No sooner had Baile returned to Australia in 1925 with his Newcastle Steelworks Band, he made moves to reform the band in Sydney as the Australian Silver Band and apparently included some Queensland bandsmen in the new ensemble (“AUSTRALIAN SILVER BAND.,” 1925).  Including some bandsmen from another State could probably justify the name change an Australian band. However, given the huge reputation of the Newcastle Steelworks Band after their competition wins, the name change stuck and the band proceeded on their first international tour to wide acclaim (“AUSTRALIAN COMMONWEALTH SILVER BAND,” 1926).

The Daily Mail, 29/09/1925, p. 10

The band name seems to have begun evolving into the Australian Commonwealth Band in various media with the dropping of the world ‘Silver’ from it, hence the more recognizable name is etched in history.  We see in the various photos and ephemera included in this post that they were a very smart looking ensemble and that they had a distinctly Australian look with slouch hats.

Aside from the way the name of the band continually evolving in the newspapers, this did not discount the fact that it was an extremely fine ensemble made up of the best brass soloists and led by Baile himself.  Certainly, reviews from Australian newspapers as well as those from overseas, gave high praise to the sound of this band likening it to an “organ” or an “orchestra” (“Australian Silver Band,” 1925; “VISIT OF AUSTRALIAN BAND,” 1926).   The newspaper article published by the Todmorden & District News (UK) in 1926 was very informative as to the concert it gave in their area, attended by 5,000 people, and the quality of the soloists, in particular, the Solo Cornet player, Mr Arthur Stender (“VISIT OF AUSTRALIAN BAND,” 1926).  Below is a list of the band members as published in the book, “Legends in Brass : Australian Brass Band Achievers of the 20thCentury”:

Postcard: Australian National Band, 1926 (source: Jeremy de Korte personal collection)

Front row: Len Ryan, Norm Forbes, Alf Cornish, Fred Myers, Vern Beacroft, Albert Baile, Clarrie Collins, Jack Stokes, Tom Bennett, Ossie Forbes
Middle row: Bob Gibson, Joe Clay, Len Atkinson, George Robertson, Stan Ryan, Albert Ovenden, Bill Murphy, Jack Murphy, Harold Hewson
Back row: Archie Moore, Harold Collins, James “Scott” Armour, Arthur Stender, Alfred Paxton, Joe Hardy

(Greaves & Earl, 2001, p. 51)

The Australian Commonwealth Band undertook two Australian/World tours, the first from 1925-1926 and the next from 1926-1928.  As in their first tour, they received rave reviews during their second tour, of which an article in New Zealand’s Evening Post from February 1927 provides a brief summary (“COMMONWEALTH SILVER BAND,” 1927).  This second tour was not all plain sailing.  While the band was traveling around Australia, the Australian Musicians’ Union was up in arms about a boycott of the Commonwealth Band while it was touring America (“COMMONWEALTH BAND,” 1927).  The Union started lobbying for retaliatory action against musicians visiting from overseas.  It is unclear how this action was resolved however it is interesting that despite the reputation of the Commonwealth Band, there was this hiccup while on tour.

19271203_Figaro_Aust-Comm-Band-Farewell
Queensland Figaro, 3/12/1927, p. 1

The Australian Commonwealth Band was disbanded in Sydney in early 1928 after they had finished their last tour of Australia (Greaves & Earl, 2001).  There is no doubt that this was a truly remarkable ensemble, started from the players of the Newcastle Steelworks Band to become a unique band in its own right. And it certainly boosted the reputation of Australian bands in general.  The legacy of this fine ensemble was felt for years to come.

The Queensland State Band:

In the early 1930s, we see the formation of the one and only State band, the Queensland State Band.  This was formed in unusual, but possibly well-meaning circumstances as the musicians were notionally “unemployed” (“QUEENSLAND STATE BAND.,” 1933b).  The other aim of the band was to try to emulate the success of previous tours by the Newcastle Steelworks Band and the Australian Commonwealth Band by touring overseas and competing in England.  Nevertheless, the band formed in September 1933 and included previous members of the Australian Commonwealth Band (“QUEENSLAND STATE BAND TOUR.,” 1933).

The Northern Herald, 9/09/1933, p. 19

Almost immediately this band raised the ire of the Queensland Band Association (QBA) of which sent an annoyed letter to the Courier Mail published on October 9th, 1933.  In the letter, the QBA Secretary of the time, Mr J. R. Foster made some forceful points about the State band not being “tested for proficiency” under QBA rules, and the fact that the State band was professional yet had excluded some Queenslanders by bringing in bandsmen from Southern States (Foster, 1933).  In addition, apparently, the Lord Mayor of Brisbane had allowed the State band to perform in a park while excluding other Brisbane metropolitan bands (Foster, 1933).  It is fair to say that this letter (and the QBA) failed to have much impact on the operations of this band.

After being brought together, the Queensland State Band commenced a tour of Queensland where they visited many towns and rural centers north of Brisbane. The receptions they received were enthusiastic and many a town newspaper gave them favorable reviews of their playing (“QUEENSLAND STATE BAND.,” 1933a).  Indeed, they also inspired many local town bands and schools, and it is noted that they played for a combined total of 20,000 people over the course of the tour (“STATE BAND DOGGED BY RAIN,” 1933).  After this part of the tour ended, they were supposed to tour through Northern NSW and also raise finances for a trip to England, of which either activity does not appear to have happened.

As mentioned, this is one of the only instances during this time where a State band was formed.  It is unclear why other States did not form their own representative bands.  However, it does indicate that where there is a drive, things will happen even if all the aims are not met.

One more band:

There was only one more band to carry an Australian name during this time period, a band that was very short lived – the ‘Australian Girls’ Brass Band’ which was formed in 1934.  We know how rare female bands were through a previous post, so perhaps this was a tokenistic ensemble.  However, they were formed and presented one concert in Sydney where they were not exactly complimented for playing, but apparently looked very smart in green & gold uniforms (“Australian Girls’ Brass Band,” 1934; “FIRST CONCERT,” 1934).  There is no more record of this band doing anything else beyond this one concert.

Conclusion:

If there is anything showing from the stories of these ensembles it is a distinct similarity between them.  They were all formed basically for the one activity, which was touring.  Except that this aim was obviously dependent on having enough money.  That being said, the Australian Commonwealth Band took things a few steps further by acting on their aims to compete in England and tour around the world, and it was a band that was in existence for the longest time.  Certainly, the fact that the Commonwealth Band undertook two world tours in quick succession is a testament to the organization and prowess of its manager and conductor, no doubt both well-honed from the previous Newcastle tour.

In any case, once again we see that these bands added to the reputation and life of Australian banding and through them, we have seen some interesting histories.  Perhaps there are lessons to be learned and no doubt there are further stories to be unearthed.  We do have a unique history of bands in this country and having bands that carried the Australian name or a State name gained for themselves a distinct historical legacy.

Postcard: Australian National Band – Soloists, 1926 (source: Jeremy de Korte personal collection)

References:

THE AUSTRALIAN COMMONWEALTH BAND. (1927, 03 December). Queensland Figaro (Brisbane, Qld. : 1901 – 1936), 1. http://nla.gov.au/nla.news-article84901454

AUSTRALIAN COMMONWEALTH SILVER BAND. (1926, 02 February). Geelong Advertiser (Vic. : 1859 – 1929), 1. http://nla.gov.au/nla.news-article232244596

Australian Girls’ Brass Band. (1934, 24 January). Sydney Mail (NSW : 1912 – 1938), 19. http://nla.gov.au/nla.news-article166103727

AUSTRALIAN IMPERIAL BAND. (1924, 09 January). Morning Bulletin (Rockhampton, Qld. : 1878 – 1954), 8. http://nla.gov.au/nla.news-article54107997

AUSTRALIAN IMPERIAL BAND COMING. (1924, 03 June). Ballarat Star (Vic. : 1865 – 1924), 2. http://nla.gov.au/nla.news-article214257314

AUSTRALIAN SILVER BAND. (1925, 29 September). Daily Mail (Brisbane, Qld. : 1903 – 1926), 10. http://nla.gov.au/nla.news-article218269176

Australian Silver Band. (1925, 27 November). Te Aroha News. https://paperspast.natlib.govt.nz/newspapers/TAN19251127.2.15.1

AUSTRALIAN-IMPERIAL BAND. (1924, 24 June). Daily Telegraph (Sydney, NSW : 1883 – 1930), 6. http://nla.gov.au/nla.news-article245712884

Cameron, K. (2020, 12 August). Actually the steelworks band benefited from this group’s misfortune. The Newcastle band filled the Wembley exhibition dates that had been… [Comment]. Facebook. Retrieved 12 August 2020 from https://www.facebook.com/groups/1404925869759642/?post_id=2612055202380030&comment_id=2612128729039344&notif_id=1597219322511437&notif_t=group_comment&ref=notif

COMMONWEALTH BAND : Retaliatory Proposals. (1927, 01 November). Western Argus (Kalgoorlie, WA : 1916 – 1938), 13. http://nla.gov.au/nla.news-article34420586

COMMONWEALTH SILVER BAND : What others think. (1927, 09 February). Evening Star. https://paperspast.natlib.govt.nz/newspapers/ESD19270209.2.93

FIRST CONCERT : Girls’ Band in Gold and Green. (1934, 18 January). Daily Telegraph (Sydney, NSW : 1931 – 1954), 10. http://nla.gov.au/nla.news-article248959700

Foster, J. R. (1933, 09 October). QUEENSLAND STATE BAND : To the Editor. Courier-Mail (Brisbane, Qld. : 1933 – 1954), 3. http://nla.gov.au/nla.news-article1128247

Greaves, J., & Earl, C. (2001). Legends in brass : Australian brass band achievers of the 20th century. Muso’s Media.

Minton Witts Studios. (1924). Australian Imperial Band in Sydney (Conducted by: Mr W. M. Partington) [Postcard]. Minton Witts Studios, Sydney, N.S.W.  

Pattie, R. (2010). The history of the City of Ballarat Municipal Brass Band 1900-2010 : one hundred and ten years of music to the citizens of Ballarat (Rev. ed.). City of Ballarat Municipal Brass Band. 

Photogelatine Engraving Company Co. Ltd. (1926a). Albert H. Baile (Musical Director) : Australian National Band (World Tour) [Postcard]. Photogelatine Engraving Company Co. Ltd., Ottawa, Canada. 

Photogelatine Engraving Company Co. Ltd. (1926b). Australian National Band (World Tour) [Postcard]. Photogelatine Engraving Company Co. Ltd., Ottawa, Canada. 

Photogelatine Engraving Company Co. Ltd. (1926c). Australian National Band (World Tour) Concert Position : Albert H. Baile, Musical Director [Postcard]. Photogelatine Engraving Company Co. Ltd., Ottawa, Canada. 

Photogelatine Engraving Company Co. Ltd. (1926d). Australian National Band (World Tour) Soloists [Postcard]. Photogelatine Engraving Company Co. Ltd., Ottawa, Canada. 

QUEENSLAND STATE BAND : Brilliant Conductor. (1933, 28 October). Cairns Post (Qld. : 1909 – 1954), 3. http://nla.gov.au/nla.news-article41230080

QUEENSLAND STATE BAND : Six Months Tour : Trade Propaganda. (1933, 09 September). Northern Herald (Cairns, Qld. : 1913 – 1939), 19. http://nla.gov.au/nla.news-article150003898

QUEENSLAND STATE BAND TOUR. (1933, 29 September). Courier-Mail (Brisbane, Qld. : 1933 – 1954), 20. http://nla.gov.au/nla.news-article1124687

SALVATION ARMY : The Federal Band. (1898, 14 February). Advertiser (Adelaide, SA : 1889 – 1931), 7. http://nla.gov.au/nla.news-article35105401

SALVATION ARMY FEDERATION : A Capital Band. (1898, 14 February). South Australian Register (Adelaide, SA : 1839 – 1900), 6. http://nla.gov.au/nla.news-article54519628

Sharp, A. M. (1993). Baile, Albert Henry (Bert) (1882-1961). In Australian Dictionary of Biography. Retrieved 22 March 2019, from https://adb.anu.edu.au/biography/baile-albert-henry-bert-9402

STATE BAND DOGGED BY RAIN : Northern Tour Ends : Successful Results. (1933, 30 November). Telegraph (Brisbane, Qld. : 1872 – 1947), 6. http://nla.gov.au/nla.news-article181171770

VISIT OF THE AUSTRALIAN BAND : Magnificent playing to big crowds. (1926, 20 August). Todmorden & District News,2. https://www.britishnewspaperarchive.co.uk/viewer/bl/0001940/19260820/182/0002

“WE WANT SOME MONEY-GIVE US SOME, DO!”. (1924, 09 August). Mirror (Perth, WA : 1921 – 1956), 1. http://nla.gov.au/nla.news-article76437154