particularly the BBC Symphony Orchestra, Welsh National Opera, the Taverner Players and the Wallace Collection. He is Emeritus Professor of Music at the Open University where he developed a global reputation as an expert on the history and performance practices of brass instruments.
Herbert applied the “Page 99 Test” to his new book, The Brass Band Story, and shared the following:
‘Nothing separates the brass band more clearly from the rest of the musical world than the resilient centrality of contesting in its culture.’ These are the opening words of the new chapter that begins on page 99 of my book. I explain the Victorian origins of contesting and how it has been adopted in every country where the British model of the brass band is used. Contests occupy a marginal place in other forms of music making, so their pre-eminence in the world of the amateur brass band has prompted ridicule: to Charles Dickens they were ‘a musical prize fight’. The problem is easily understood. Listening to twenty or more bands, each playing the same piece in succession, is not an inviting prospect for everyone, and the idea that musical expression can be measured and scored to select ‘a winner’ is heavy with aesthetic contradictions. But that’s only how it’s seen from the outside.Learn more about The Brass Band Story at the Yale University Press website.
An argument can be easily made to show that contests and brass bands were made for each other. They were introduced in the nineteenth century as mass entertainment for the working class. A standard instrumental format was introduced to encourage equivalence; this led to a bespoke repertoire and a unique musical idiom. Contests were and remain congregations of like-minds, and while local rivalries once drew vast audiences, a more subtle set of factors are at play in the modern era. They have become sites of pleasure that produce performances rich in musical nuance.
In my book I plot a much wider narrative about bands, their players and the lives they have led in music, how they weathered industrialisation and deindustrialisation, survived, modernised, internationalised and thrived over almost two centuries. This very British musical phenomenon has a fascinating and multi-faceted history. At every stage its momentum has been nourished by the heady excitement of the contest. Without it this very distinctive form of music making might prevail only as a memory: of a brief, temporary phase in Britain’s music history. For the full story read from page 99: remarkably it hits the exact spot – the epicentre.
--Marshal Zeringue









