Trevor Herbert
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Biography <p>Trevor Herbert was born in Cwmparc, south Wales. He was educated at the Tonypandy Grammar School, and then read music&nbsp; education at St Luke&rsquo;s College, University of Exeter . He then spent three years at the Royal College of Music as a foundation scholar, where he studied trombone with Arthur Wilson and composition with Jeremy Dale Roberts. He&nbsp; took a BA degree in humanities at the Open University, and a Ph.D. for a thesis on&lsquo;The Trombone in England before 1800&rsquo;. He was awarded the Doctor of Letters (DLitt) of the Open University in 2009. \in 2000 he was made a Fellow of the Royal; College of Music and the Leeds College of Music. He was elected a Fellow of the Learned Society of Wales in 2015 and appointed&nbsp; Porfessor of Music Research at the Royal College of Music in 2017.</p><p>Between 1969 and 1976 he played trombone with many leading London orchestras and chamber groups, most particularly the BBC Symphony Orchestra, Royal Philharmonic Orchestra, Glyndebourne Opera, Welsh National Opera, the Northern Sinfonia, the Taverner Players, Musica Reservata and the Wallace Collection. He has performed on several major recordings and broadcasts and&nbsp; in concerts throughout the world.</p><p>In 1976 he joined the staff of the Open University. He continued to perform, and developed research interests in two different areas: the history, repertoires and performance cultures of brass instruments, and the place of music in the cultural history of Wales. He has contributed prolifically to<a href="http://www.grovemusic.com/index.html" rel="nofollow"><em><u>New Grove II</u></em></a>,<a href="http://www.oup.com/oxforddnb/info/" rel="nofollow"><em><u>The Oxford Dictionary of National Biography</u></em></a>and<em>The Encyclopedia of Popular Music of the World</em>. Among his books are<a href="http://www.cambridge.org/catalogue/catalogue.asp?isbn=0521565227" rel="nofollow"><em><u>The Cambridge Companion to Brass Instruments</u></em></a>(edited with John Wallace) and<a href="http://www.oup.co.uk/isbn/0-19-816698-2" rel="nofollow"><em><u>The British Brass Band: A Musical and Social History</u></em></a>. His book<a href="http://www.abrsmpublishing.com/publications/2257" rel="nofollow"><em><u>Music in Words: A Guide to Researching and Writing about Music</u></em></a>is a widely used reference text. His book<a href="http://www.yalebooks.co.uk/yale/display.asp?K=510000000779488&amp;M=1&amp;tag=&amp;cid=&amp;search_text=trombone&amp;search_field=KEYWORD&amp;sort=SORT_DATE/D&amp;x=38&amp;y=13&amp;DC=1" rel="nofollow"><em><u>The Trombone</u></em></a>, the first comprehensive cultural and musical history of the instrument, was published by Yale University Press in January 2006. In 2002 he became the first British recipient of the<a href="http://www.historicbrass.org/" rel="nofollow"><u>Historic Brass Society&rsquo;s</u></a>Christopher Monk Award. In 2014 The Galpin Society awarded him&nbsp;its Anthony Baines Prize for&#39;outstanding contributions to organology&#39;.</p><p>He is joint editor of the<em>Bucina</em>series of Pendragon Press, a member of the editorial board of the<a href="http://www.historicbrass.org/" rel="nofollow"><u>Historic Brass Society</u></a>, was associate editor (music) of the<em>Welsh Academy Encyclopaedia of Wales</em>.(2008), and joint editor of the<em>Cambridge Encyclopedia of Brass Instruments</em>(2019).</p>
Description <p>Trevor Herbert was born in Cwmparc, south Wales. He was educated at the Tonypandy Grammar School, and then read music&nbsp; education at St Luke&rsquo;s College, University of Exeter . He then spent three years at the Royal College of Music as a foundation scholar, where he studied trombone with Arthur Wilson and composition with Jeremy Dale Roberts. He&nbsp; took a BA degree in humanities at the Open University, and a Ph.D. for a thesis on&lsquo;The Trombone in England before 1800&rsquo;. He was awarded the Doctor of Letters (DLitt) of the Open University in 2009. \in 2000 he was made a Fellow of the Royal; College of Music and the Leeds College of Music. He was elected a Fellow of the Learned Society of Wales in 2015 and appointed&nbsp; Porfessor of Music Research at the Royal College of Music in 2017.</p><p>Between 1969 and 1976 he played trombone with many leading London orchestras and chamber groups, most particularly the BBC Symphony Orchestra, Royal Philharmonic Orchestra, Glyndebourne Opera, Welsh National Opera, the Northern Sinfonia, the Taverner Players, Musica Reservata and the Wallace Collection. He has performed on several major recordings and broadcasts and&nbsp; in concerts throughout the world.</p><p>In 1976 he joined the staff of the Open University. He continued to perform, and developed research interests in two different areas: the history, repertoires and performance cultures of brass instruments, and the place of music in the cultural history of Wales. He has contributed prolifically to<a href="http://www.grovemusic.com/index.html" rel="nofollow"><em><u>New Grove II</u></em></a>,<a href="http://www.oup.com/oxforddnb/info/" rel="nofollow"><em><u>The Oxford Dictionary of National Biography</u></em></a>and<em>The Encyclopedia of Popular Music of the World</em>. Among his books are<a href="http://www.cambridge.org/catalogue/catalogue.asp?isbn=0521565227" rel="nofollow"><em><u>The Cambridge Companion to Brass Instruments</u></em></a>(edited with John Wallace) and<a href="http://www.oup.co.uk/isbn/0-19-816698-2" rel="nofollow"><em><u>The British Brass Band: A Musical and Social History</u></em></a>. His book<a href="http://www.abrsmpublishing.com/publications/2257" rel="nofollow"><em><u>Music in Words: A Guide to Researching and Writing about Music</u></em></a>is a widely used reference text. His book<a href="http://www.yalebooks.co.uk/yale/display.asp?K=510000000779488&amp;M=1&amp;tag=&amp;cid=&amp;search_text=trombone&amp;search_field=KEYWORD&amp;sort=SORT_DATE/D&amp;x=38&amp;y=13&amp;DC=1" rel="nofollow"><em><u>The Trombone</u></em></a>, the first comprehensive cultural and musical history of the instrument, was published by Yale University Press in January 2006. In 2002 he became the first British recipient of the<a href="http://www.historicbrass.org/" rel="nofollow"><u>Historic Brass Society&rsquo;s</u></a>Christopher Monk Award. In 2014 The Galpin Society awarded him&nbsp;its Anthony Baines Prize for&#39;outstanding contributions to organology&#39;.</p><p>He is joint editor of the<em>Bucina</em>series of Pendragon Press, a member of the editorial board of the<a href="http://www.historicbrass.org/" rel="nofollow"><u>Historic Brass Society</u></a>, was associate editor (music) of the<em>Welsh Academy Encyclopaedia of Wales</em>.(2008), and joint editor of the<em>Cambridge Encyclopedia of Brass Instruments</em>(2019).</p>
Job title Emeritus Professor
Research overview <p>Among several major projects funded by the UK&rsquo;s Arts and Humanities Research Council (AHRC) and the British Academy are&lsquo;<a href="http://fass.open.ac.uk/music/project/music-military-culture" target="_blank">Military Sponsorship of Music in Britain in the Nineteenth Century and its Relationship with the Musical Mainstream</a>&rsquo;. A project that created a greater and more accurate understanding of military music in the period, and to explained its relationship to wider orbits of art and popular music.<a href="http://www.open.ac.uk/Arts/music-military-culture/index.shtml"><u>Further information is available from the project&rsquo;s website</u></a>. And, the AHRC-funded project,&lsquo;Cultures of performance among British brass players 1750-1965&rsquo;, which traced the elements that contribute to a distinctive style of British brass playing. It looked at the relationships between amateur playing and different types of professional music including jazz, orchestral music and military bands. Further information is available from the<a href="http://www.open.ac.uk/Arts/cultures-of-brass/index.html"><u>&lsquo;Cultures of Brass&rsquo; website</u></a>.</p><h4>Main Publishers</h4><p><a href="http://www.oup.com/" rel="nofollow"><u>Oxford University Press</u></a><br /><a href="http://uk.cambridge.org/" rel="nofollow"><u>Cambridge University Press</u></a><br /><a href="http://www.uwp.co.uk/" rel="nofollow"><u>University of Wales Press</u></a><br /><a href="http://www.abrsmpublishing.co.uk/" rel="nofollow"><u>ABRSM Publishing</u></a><br /><a href="http://www.yalebooks.co.uk/yale/default.asp" rel="nofollow"><u>Yale University Press</u></a><br /><a href="http://www.routledge.com/" rel="nofollow"><u>Routledge</u></a></p><h3>Publications</h3><h4>Books</h4><p><strong><em>Authored:</em></strong></p><p><em>Music and the British Military in the Long Nineteenth Century</em>, with Helen Barlow (New York: Oxford University Press, 2013). [In press]</p><p><em>The Trombone</em>, London: Yale University Press, 2006, ISBN 0-300-10095-7</p><p><em>Music in Words: A Guide to Researching and Writing about Music</em>, 224 pp., London: Associated Board of the Royal Schools of Music (Publishing), 2001, ISBN 1-86096-236-X (2nd edition in press)</p><p><em>An Annotated Handlist of the Robert Minter Collection</em>,<a href="http://www.open.ac.uk/Arts/minter/"><u>http://www.open.ac.uk/Arts/minter/</u></a>, 2008</p><p><em>Music in Words: A Guide to Researching and Writing about Music</em>, American edition, New York: Oxford University Press, 2009. ISBN 978-0-19-537372-1; ISBN 978-0-19-537373-8 pbk<br />&nbsp;</p><p><strong><em>Edited:</em></strong></p><p><em>Tudor Wales</em>(with Gareth Elwyn Jones), 186 pp., University of Wales Press, 1988 (2nd Edition 1990), ISBN 0-7083-0971-2</p><p><em>Wales</em><em>1880-1914</em>(with Gareth Elwyn Jones), 195 pp., University of Wales Press, 1988, ISBN 0-7083-0967-4</p><p><em>People and Protest 1815-1880</em>(with Gareth Elwyn Jones), 215 pp., University of Wales Press, 1988 (2nd edn 1991), ISBN 0-7083-0988-7</p><p><em>Wales</em><em>between the Wars</em>(with Gareth Elwyn Jones), 296 pp., University of Wales Press, 1988 (2nd edn 1991), ISBN 0-7083-0989-5</p><p><em>The Remaking of Wales in the Eighteenth Century</em>(with Gareth Elwyn Jones), 192 pp., University of Wales Press, 1988, ISBN 0-7083-1013-3</p><p><em>Edward</em><em>I and Wales</em>(with Gareth Elwyn Jones), 157 pp., University of Wales Press, 1988, ISBN 0-7083-1012-5</p><p><em>Divertimento in D</em>by J. Fialla (with John Wallace) 18 pp., Faber, London, 1988.</p><p><em>Catalogue of the European Wind and Percussion Instruments in the Cyfarthfa Castle Museum Collection</em>(with Arnold Myers), 24 pp., Merthyr Tydfil Council, 1990.</p><p><em>Bands: The Brass Band Movement in the 19th and 20th Centuries</em>, 224 pp., Open University Press, Milton Keynes, 1991, ISBN 0-335-09703-0; ISBN 0-335-09702-2 pbk.</p><p><em>Post-War Wales</em>(with Gareth Elwyn Jones), 194 pp., University of Wales Press, 1995, ISBN 0-7083-1291-8.</p><p><em>The Cambridge Companion to Brass Instruments</em>(with John Wallace), 341 pp., Cambridge University Press, 1997, ISBN 0 521 56343 7; ISBN 0 521 56522 7 pbk.</p><p><em>The British Brass Band: A Musical and Social History</em>, Trevor Herbert (ed.), 369 pp., Oxford University Press, 2000, ISBN 0 19 816698 2. (Author of Introduction and two chapters, co-author of one chapter.)</p><p><em>Hymns and Arias: Great Welsh Voices</em>(with Peter Stead), Cardiff, University of Wales Press, 2001, ISBN 0-7083-1699-9. (Author of Introduction and one chapter.)</p><p><em>The Cultural Study of Music: A Critical Introduction</em>(with Martin Clayton and Richard Middleton), New York; London: Routledge, 2003. ISBN 0-415-93844-9; ISBN 0-415-93825-7 pbk. (Author of one chapter,&rsquo;Social history and music history&rsquo;.)</p><h4>Chapters in books</h4><p>&lsquo;Nineteenth-Century Bands: The Making of a Movement&rsquo; and&lsquo;Postscript&rsquo;, in Herbert,<em>Bands</em>, pp.7-57, 165-169.</p><p>&lsquo;&quot;Sackbut&quot;: the early trombone&rsquo;, in Herbert and Wallace,<em>The Cambridge Companion to Brass Instruments</em>, pp. 68-83.</p><p>&lsquo;Brass bands and other vernacular traditions&rsquo;, in Herbert and Wallace,<em>The Cambridge Companion to Brass Instruments</em>, pp.177-192.</p><p>&lsquo;Playing, learning and teaching brass&rsquo; (with Ralph Dudgeon, Philip Eastop and John Wallace), in Herbert and Wallace,<em>The Cambridge Companion to Brass Instruments</em>, pp. 193-206.</p><p>&lsquo;The Reconstruction of Nineteenth-Century Band Repertory: Towards a Protocol&rsquo;, in S. Carter, ed.,<em>Perspectives in Brass Scholarship: Proceedings of the International Historic Brass Symposium, Amherst, 1995</em>, Bucina: The Historic Brass Society Series No. 2 Pendragon Press, Stuyvesant, New York, 1997, pp. 185-213, ISBN 0-945 193-97-1.</p><p>&lsquo;Victorian Brass Bands: Class, Taste and Space&rsquo; in G. Reynolds et al (eds.),<em>The Place of Music: Music, Space and the Production of Place</em>, Guilford/Longman, New York and London, 1998, pp. 104-128, ISBN 1-57230-313-1, ISBN 1-57230-314-X pbk.</p><p>&lsquo;The practice and context of a Victorian brass band&rsquo;, in Bennett Zon (ed.),<em>Nineteenth-Century British Music Studies, Vol. 1</em>, Aldershot: Ashgate, 1999, pp. 105-18, ISBN 184012596.</p><p>&lsquo;Military music articles in the Farmer Collection&rsquo;, in Carl Cowl&amp; Sheila M. Craik (ed.),<em>Henry George Farmer: A Bibliography</em>, Glasgow: Glasgow University Library, 1999, pp. XVII-XXI, ISBN 0852616902.</p><p>Introduction in Herbert (ed.),<em>The British Brass Band: A Musical and Social History</em>, pp. 1-9.</p><p>&lsquo;Nineteenth-century bands: making a movement&rsquo;, in Herbert (ed.),<em>The British Brass Band: A Musical and Social History</em>, pp. 10-67.</p><p>&lsquo;God&rsquo;s perfect minstrels: the bands of the Salvation Army&rsquo;, in Herbert (ed.),<em>The British Brass Band: A Musical and Social History</em>, pp. 187-216.</p><p>&lsquo;Aspects of performance practices: the brass band and its influence on other brass-playing styles&rsquo; (with John Wallace) in Herbert (ed.),<em>The British Brass Band: A Musical and Social History</em>, pp. 278-305.</p><p>&lsquo;Popular nationalism: Griffith Rhys Jones (&rsquo;Caradog&rsquo;) and the Welsh choral tradition&rsquo;, in<em>Music and British Culture</em>, Christina Bashford (ed.), Oxford University Press, 2000, pp. 255-74, ISBN 0 19 816730 X.</p><p>&lsquo;Trombones and the English Court c.1480-c.1680&rsquo;, in Monika Lustig (ed.), Proceedings of Musikinstrumentenbau-Symposium<em>, Posaunen und Trompeten: Geschichte, Akustik, Spieltechnik</em>, Stiftung Kloster Michaelstein, 2000, pp. 31-8, ISBN 3 89512 116 9.</p><p>Introduction, in Herbert and Stead (eds),<em>Hymns and Arias: Great Welsh Voices</em>, pp. 3-9.</p><p>&rsquo;Tom Jones&rsquo;, in Herbert and Stead (eds),<em>Hymns and Arias: Great Welsh Voices</em>, pp. 181-94.</p><p>&lsquo;Wind instruments&rsquo; in<em>A Performer&rsquo;s Guide to Music of the Romantic Period</em>, Anthony Burton (ed.), London, Associated Board of the Royal Schools of Music, 2002, pp57-69, ISBN 1 86096 194 0.</p><p>&lsquo;Social history and music history&rsquo;, in Clayton, Herbert and Middleton (eds),<em>The Cultural Study of Music: A Critical Introduction</em>, pp.146-56.</p><p>&lsquo;Susato&rsquo;s colleagues: the trombonists of the Tudor court&rsquo;, in<em>Tielman Susato and the Music of His Time: Print Culture, Compositional Technique and Instrumental Music in the Renaissance</em>, edited by Keith Polk (Hillsdale, NY: Pendragon Press, 2005), pp. 117-32, ISBN 1 57647 106 3.</p><p>&lsquo;Matthew Locke and the cornett and sackbut ensemble in England after the Restoration: the&ldquo;labelled evidence&rdquo;&rsquo;, in<em>Brass Music at the Cross Roads of Europe: Proceedings of the International Brass Symposium Utrecht 2000</em>, edited by Keith Polk (Utrecht: STIMU, 2006), pp. 57-68.&nbsp;</p><p>&lsquo;Brass Playing in the Early Twentieth Century: Idioms and Cultures of Performance&rsquo; and&lsquo;Trombone idiom in the twentieth century: classical, jazz, and hybrid influences&rsquo;, in Howard Weiner (ed.)<em>Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions</em>, Studies in Jazz 58, Lanham, MD: Scarecrow Press, 2009.</p><p>Forthcoming:&lsquo;Military music and the musical infrastructure in Britain c.1780-c.1860&rsquo;, in Paul Rodmell (ed.), Proceedings of the Sixth Biennial Conference on Music in 19th-Century Britain, University of Birmingham, July 2007.</p><p>Forthcoming:&lsquo;Performance domains: band performance conventions and the factors that create them&rsquo;, in Kate Brucher and Suzel Reily (eds),<em>Bands, Place, and Community Music Making</em>, University of Indiana Press.</p><h4>Articles</h4><p>&lsquo;The Virtuosi of Merthyr&rsquo;,<em>Llafur: The Journal of Welsh Labour History</em>, pp. 60-69, August 1988</p><p>&lsquo;Instruments of the Cyfarthfa Band&rsquo; (with Arnold Myers),<em>Galpin Society Journal</em>, Vol. XLI, 1988, pp.2-10, ISSN 0072.0127</p><p>&lsquo;Sondheim&rsquo;s Technique&rsquo;,<em>Contemporary Music Review</em>, Vol. 5, Part 1, Autumn 1989, pp. 199-214, ISSN 0749-4467; ISBN 3-7186-4980-2</p><p>&lsquo;The Repertory of a Victorian Provincial Brass Band&rsquo;,<em>Popular Music</em>, Vol. 9, No. 1, pp. 117-132, Cambridge University Press, 1990, ISSN 0261-1430, ISBN 0 521 399440</p><p>&lsquo;The Sackbut in England in the Seventeenth and Eighteenth Centuries&rsquo;,<em>Early Music</em>, Vol. XVIII No. 4, pp. 609-616, Oxford, 1990, ISSN 0306-1078</p><p>&lsquo;A Lament for Sam Hughes: The Last Ophicleidist&rsquo;,<em>Planet: The Welsh Internationalist</em>, pp.66-75, Aberystwyth, July 1991, ISSN 0048-4288</p><p>&lsquo;The Trombone in 19th-century Italian Opera&rsquo;, Welsh National Opera Programme Book,<em>Lucia di Lammermoor</em>, 1989, pp. 28-30.</p><p>&lsquo;A Softening Influence: R. T. Crawshay and the Cyfarthfa Band&rsquo;,<em>Merthyr Historian</em>, Vol. 5, pp.35-42, Merthyr, 1992, ISBN 0 9504845 5 5</p><p>&lsquo;Victorian Brass Bands: The Establishment of a Working Class Musical Tradition&rsquo;,<em>Historic Brass Society Journal</em>No 4, pp. 1-11, New York, 1992, ISSN 1045-4616</p><p>&lsquo;The Sackbut and Pre-Reformation English Church Music&rsquo;,<em>Historic Brass Society Journal</em>No 5, pp.146-159, New York, 1993, ISSN 1045-4616</p><p>&lsquo;Late Victorian Welsh Bands and Cymmrodorion Attitudes/Bandiau Cymreig y Cyfnod Fictoraidd Diweddar: Chwaeth, Pencampwriaeth ac Agweddau&rsquo;r Cymmrodorion&rsquo;,<em>Welsh Music History</em>1, (eds. John Harper/ Wyn Thomas), pp.92-103, University of Wales Press, Cardiff, 1996, ISSN 1362-068</p><p><em>The Origin of the Species: The Cyfarthfa Repertory on period instruments</em>, Programme book for Nimbus CD of the same title, 8pp, Nimbus, March 1996.</p><p><em>The Victorian Christmas</em>, Programme book for JVC CD of the same title, 26pp., JVC, December 1996.</p><p><em>Virtuosi: Ian Bousfield</em>, Programme book for EMI CD of the same title, 7pp., EMI Records Ltd., 1997.</p><p>&lsquo;Victorian Bands and their Dissemination in the Colonies&rsquo; (with Margaret Sarkissian),<em>Popular Music</em>, Vol. 16, No. 2, Cambridge University Press, 1997, pp.167-81, ISSN 0261-1430, ISBN 0 521 399440</p><p>&lsquo;Brass bands and orchestral brass sections&rsquo;,<em>Music Teacher</em>: Teaching Brass, April 1998, pp. 14-16.</p><p>&lsquo;Volunteers, Salvationists and committees: consensus versus regulation in amateur Victorian brass bands&rsquo;, in<em>Cahiers victoriens et edouardiens</em>, 50 (October 1999), 105-21.</p><p><em>Hammered Brass</em>, Programme book for Linn CD CKD 162, 3pp., Linn Records, 2000.</p><p><em>Baltic Brass</em>, Programme book for Deux-Elles CD DXL 1042, 3pp., Deux-Elles, 2001.</p><p>&lsquo;Selling brass instruments: the commercial imaging of brass instruments (1830-1930) and its cultural messages&rsquo;, in<em>Music in Art: the International Journal for Music Iconography</em>, 28/1-2 (Spring-Fall 2004), 213-26.</p><p><em>The History of Brass Band Music: Classical Arrangements</em>, programme book for DOY CD 164, 6pp., Doyen, 2007.</p><p>In press:&lsquo;Music for the multitude: accounts of the brass bands entering Enderby Jackson&rsquo;s Crystal Palace contests in the 1860s&rsquo; (with Arnold Myers), in<em>Early Music</em>.<br />&nbsp;</p><h4>Other reviews, review articles and journalism in:</h4><p><em>Arcade</em><br /><em>The Consort</em><br /><em>The Galpin Society Journal</em><br /><em>Haydn Year Book</em><br /><em>The Historic Brass Society Journal</em><br /><em>The Music Teacher</em><br /><em>The Musical Times</em><br /><em>New Welsh Review</em><br /><em>Popular Music</em><br /><em>Planet: The Welsh Internationalist</em><br /><em>The Social History Society Bulletin</em><br /><em>The Trombonist</em><br /><em>Wales</em><em>on Sunday</em><br /><em>Welsh Music</em><br /><em>The Western Mail</em></p><h4>Conference contributions and lectures (selected)</h4><p>&lsquo;The Trombone in England in the Sixteenth Century&rsquo;: paper to the 1989 International Trombone Society Conference, Eton College</p><p>&lsquo;The Origins of the Brass Band Movement&rsquo;: paper to the 1991 Historic Brass Society Conference, Amherst, Massachusetts</p><p>&lsquo;The Robert Minter Archive as a Profile of Natural Trumpet Repertory&rsquo;: paper to the 1992 Historic Brass Society Conference, Amherst, Massachusetts</p><p>&lsquo;Victorian Brass Bands: Class, Taste and Space&rsquo;: paper to the 1993 conference on&rsquo;The Place of Music&rsquo;, University of London</p><p>&lsquo;Late Victorian and Edward ian Bands in Wales and Establishment Attitudes&rsquo;: paper to the 1994 Inaugural Conference of The Welsh Music History Centre</p><p>&lsquo;Reconstructing the Cyfarthfa Sound&rsquo;: paper to the 1995 International Historic Brass Symposium, Amherst, Massachusetts</p><p>&lsquo;Nineteenth-century Bands and Mainstream Art Music&rsquo;: paper to the American Musicological Society, New York City, 1995</p><p>&lsquo;Gender Issues in Historic Brass Performance in the 16th and the 19th Centuries&rsquo;: paper to The Historic Brass Society Conference, Amherst, Mass., August 1996</p><p>&lsquo;The Practice and Contexts of a Private Victorian Brass Band&rsquo;: paper to conference on Music in Nineteenth-Century Britain, The University of Hull, July 1997</p><p>&lsquo;Brass Bands and Social Trends in Victorian Britain&rsquo;: paper to the 16th International Congress of the International Musicological Society, London, August 1997</p><p>&lsquo;Music and Power: the Origins of the Welsh Choral Tradition&rsquo;: paper to the Third Conference of the Centre for Advanced Welsh Music Studies, University of Wales Bangor, September 1997</p><p>&lsquo;Brass at the periphery: the Salvation Army&rsquo;: paper to American Musicological Society Conference, Boston, October/November 1998.</p><p>&lsquo;Trombones and the English Court c.1480-c.1680&rsquo;: paper to Musikinstrumentenbau-Symposium<em>, Posaunen und Trompeten: Geschichte, Akustik, Spieltechnik</em>, Stiftung Kloster Michaelstein, Germany, November 1998.</p><p>&lsquo;Land of whose fathers?: Caradog, charisma and the Welsh musical tradition&rsquo;: paper to the<em>Identities and Differences: Music and Cultures Conference</em>, University of Newcastle, 17 February 1999.</p><p>&lsquo;Brass Recordings and Performance Practice&rsquo;, Historic Brass Symposium, Cit&eacute; de la musique, Paris, 10-13 March 1999.</p><p>&lsquo;The careers of trombone players in the sixteenth century&rsquo;,<em>Susato Symposium</em>, University of Durham, New Hampshire, USA , April 1999.</p><p>&lsquo;Enderby Jackson&rsquo;s Crystal Palace Brass Band Contests&rsquo;,<em>Music in Nineteenth-Century Britain</em>conference, University of Durham, July 1999.</p><p>&lsquo;The Salvation Army: God&rsquo;s perfect minstrels&rsquo;, Historic Brass Society conference, Berkeley, August 1999.</p><p>&lsquo;Music in the Salvation Army before 1918&rsquo;, Institute of Historical Research, University of London, November 1999.</p><p>&lsquo;The brass band movement&rsquo;,<em>History of brass band music</em>conference, University of York, 4 February 2000.</p><p>&lsquo;The cornett-sackbut ensemble in England in the 17 th century&rsquo;, Flanders Early Music Festival, Utrecht, August/September 2000.</p><p>&lsquo;Brass instruments and the popular tradition&rsquo;, American Musicological Society conference, Toronto, 1-5 November 2000.</p><p>&lsquo;Kneller Hall: the establishment of a&quot;national&quot; military music education&rsquo;, Music in 19 th-Century Britain conference, Royal College of Music, July 2001.</p><p>&lsquo;The Performance Culture of Victorian Brass Bands&rsquo;, British Association for Victorian Studies, Lancaster, September 2001.</p><p>&lsquo;The migrants return: the British reception of John Philip Sousa&rsquo;s Band&rsquo;, 17th International Congress of the International Musicological Society, Leuven, Belgium, August 2002.</p><p>&lsquo;<em>The Invincible Eagle</em>: John Philip Sousa&rsquo;s 1900 British tour&rsquo;, Institute of Historical Research, University of London, October 2002.</p><p>&lsquo;The cultures of the trombone&rsquo;, Historic Brass Society conference, Yale, July 2003.</p><p>&lsquo;Methods of studying&ldquo;dark areas&rdquo; of nineteenth-century British music&rsquo;, Royal Society of Musicians conference, Cardiff University, September 2003.</p><p>&lsquo;Selling brass instruments: the commercial imaging of brass instruments (1830-1930) and its cultural messages&rsquo;, 9th Conference of the Research Center for Music Iconography, Metropolitan Museum, New York, November 2003.</p><p>&lsquo;The trombone c.1440-1940: declamation, lyricism and other modes of expression&rsquo;, Historic Brass Society Declamation versus Lyricism Conference, Basel and Bad S&auml;ckingen, June 2004.</p><p>&lsquo;Bands and their relationship to mainstream art music&rsquo;, Brass Symposium 2004, University of Durham, November 2004.</p><p>&lsquo;The Secret Life of the Second Trombone&rsquo;, keynote lecture, International Trombone Association Festival, New Orleans, May 2005.</p><p>&lsquo;Trombone idiom in the twentieth century&rsquo;, Historic Brass Society Jazz Conference, Early Twentieth-Century Brass Idioms: Art, Jazz, and other Popular Traditions, Institute for Jazz Studies, Rutgers University, Newark, NJ, November 2005</p><p>&lsquo;Researching and Writing about Music: Scholarship for Performers&rsquo;, The Crees Lecture, Royal College of Music, February 2007.</p><p>&lsquo;Paris, the factory of ideas&rsquo;: keynote paper to the Cit&eacute; de la Musique/Historic Brass Society conference,<em>Paris, the factory of ideas: the influence of Paris on brass instruments c.1840-c.1930</em>, Cit&eacute; de la Musique, Paris, June-July 2007</p><p>&lsquo;Military music and the musical infrastructure in Britain c.1780-c.1860&rsquo;: paper to the Sixth Biennial Conference on Music in 19th-Century Britain, University of Birmingham, July 2007</p><p>&lsquo;Trombone idiom in the early twentieth century: the origin of modern technique&rsquo;: paper to the 18th International Musicological Society Congress, University of Z&uuml;rich, Switzerland, July 2007</p><p>&lsquo;Cultures of brass playing in Britain in the 19th and 20th centuries&rsquo;: paper to the 23rd Annual Historic Brass Society Festival, Converse College, Spartanburg, South Carolina, August 2007</p><p>&lsquo;Brass cultures: band repertoires in the nineteenth century and where they came from&rsquo;: paper to the IHR seminar,&ldquo;<em>So, what do you play?&rdquo;: Instruments, Consumers and Repertory outside the British Concert Hall, 1800-1950,</em>Institute of Historical Research, University of London, May 2008</p><p>&lsquo;Kid Ory and the messages of history&rsquo;: paper to the 24th Annual Historic Brass Society Conference, Moments of Change:<em>Zorzi to Armstrong</em>, Loyola University, New Orleans, July 2008</p><h4>Other Works&nbsp;</h4><h4>Recordings (selective list)</h4><p>&nbsp;</p><table><tbody><tr><td>1972&nbsp;</td><td><em>Sixteenth-Century French Dance Music</em>, Musica Reservata/Morrow/Becket, Philips 6500 293</td></tr><tr><td>1975</td><td>Tippett,<em>A Child of our Time</em>, BBC Symphony Orchestra/Colin Davis, Philips 6500 985</td></tr><tr><td>&nbsp;</td><td>Schoenberg,<em>Gurre-Lieder</em>, BBC Symphony Orchestra/Boulez, CBS 78264</td></tr><tr><td>&nbsp;</td><td>Finzi,<em>Intimations of Immortality</em>, Guildford Philharmonic Orchestra/Handley, Lyrita SRCS 75</td></tr><tr><td>1976</td><td>Faur&eacute;,<em>Messe de Requiem</em>, Choir of St. John&rsquo;s College, Cambridge/Academy of St. Martin in the Fields/Guest, ARGO ZRG 841</td></tr><tr><td>1977&nbsp;</td><td>Boulez,<em>Rituels</em>, BBC Symphony Orchestra/Boulez, CBS 74109</td></tr><tr><td>1978</td><td>Giovanni Gabrieli,<em>Symphoniae Sacra II 1615</em>, Taverner Players/ Consort/Parrott, L&rsquo;Oiseau-Lyre, DSLO 537</td></tr><tr><td>1979&nbsp;&nbsp;</td><td>Stravinsky,<em>Pulcinella and the Suites for Small Orchestra</em>, Northern Sinfonia/Rattle, EMI ASD 3604</td></tr><tr><td>&nbsp;</td><td>Heinrich Sch&uuml;tz,<em>Sch&uuml;tz,</em>Pro Cantone Antiqua/Fleet, Enigma K53576</td></tr><tr><td>1981</td><td>Wagner,<em>Tristan und Isolde</em>, Welsh National Opera/Goodall, Decca D250 DS</td></tr><tr><td>1984</td><td>Monteverdi,<em>The Marian Vespers of 1610</em>, Taverner Players/ Consort/Parrott, EMI/EX 2701293</td></tr><tr><td>&nbsp;</td><td>Wagner,<em>Parsifal</em>, Welsh National Opera/Goodall</td></tr><tr><td>1985</td><td>Gabrieli,<em>Motets</em>, London Cornett&amp; Sackbut Ensemble/Parrott, DECCA/DSLO 537</td></tr><tr><td>1987</td><td>Praetorius,<em>Christmas Motets</em>/Sch&uuml;tz,<em>Christmas Story</em>, Taverner Players/Consort/Parrott, EMI/El 2704281</td></tr><tr><td>1988</td><td>Marenzio et al,<em>Una&lsquo;Stravaganza&rsquo; dei Medici: Intermedi (1589) per&lsquo;La Pellegrina&rsquo;</em>, Taverner Players/Consort/Choir/Parrott, EMI CDC 7479982</td></tr><tr><td>1989</td><td><em>The Carol Album: Seven Centuries of Christmas Carols,</em>Taverner Consort/Choir/Parrott, EMI CDC 7498092</td></tr><tr><td>1990</td><td>Monteverdi,<em>Mass</em>(from Selva morale, 1614), Taverner Players/ Parrott, EMI CDS 7498 762</td></tr><tr><td>&nbsp;</td><td>Handel,<em>Israel</em><em>in Egypt</em>, Taverner Players/Consort/Choir/Parrott, EMI CDS 7540182</td></tr><tr><td>1991</td><td><em>Venetian</em><em>Church</em><em>Music</em>, Taverner Consort/Parrott, EMI 7541172</td></tr><tr><td>1993</td><td><em>Carol Album 2,</em>Taverner Consort/Players/Parrott EMI CDC 754902 2</td></tr><tr><td>1996</td><td><em>The Origin of the Species: The Cyfarthfa Repertory on period instruments</em>, The Wallace Collection, Nimbus Records, NI 5470</td></tr><tr><td>1995</td><td><em>The Victorian Christmas: Christmas music on period instruments</em>, The Wallace Collection, JVC Records</td></tr></tbody></table><p>&nbsp;</p><h4>Selected broadcasts (other than Open University productions)</h4><p>&nbsp;</p><table><tbody><tr><td>Feb 1995</td><td><em>Brass Roots</em>: 4 x 50 minute documentary programmes (BBC Radio 3) on brass band repertory in the nineteenth century</td></tr><tr><td>April 1995&nbsp;</td><td><em>Victorian Brass Bands</em>: 1-hour discussion programme (BBC&nbsp;Radio 3) in the&lsquo;Fairest Isle&rsquo; series, with Dr Dave Russell and Prof Cyril Ehrlich</td></tr><tr><td>May 1995</td><td><em>The Music of Cyfarthfa Castle</em>: 45 minute programme (BBC&nbsp;Radio 3),&lsquo;Welsh Night&rsquo;, British Music Year</td></tr><tr><td>March 1997</td><td><em>Brass Cheek</em>, Teliesyn Productions/BBC1 TV (Consultant)</td></tr></tbody></table><p>&nbsp;</p><h4>Other performances</h4><p>Numerous other recordings, broadcasts and concerts in Great Britain, USA, USSR, Japan and most European countries at many major international festivals. Current interest is focused on period performance of The Cyfarthfa Repertory on period instruments with The Wallace Collection, and performances of early Baroque music with The Taverner Players.</p><h4>Compositions</h4><p>&nbsp;</p><table><tbody><tr><td>1982</td><td>Music for<em>Llewellyn</em>, HTV</td></tr><tr><td>1983</td><td>Title Music,<em>W</em><em>ales! Wales?</em>, BBC 2</td></tr><tr><td>1988</td><td>Music for<em>Sair Doliau</em>(Gwenlyn Parry), BBC Cymru/S4C</td></tr><tr><td>&nbsp;</td><td>Music for<em>Un funud fach</em>(Kate Roberts), BBC Cymru/S4C</td></tr><tr><td>&nbsp;</td><td>Music for<em>The Divided Kingdom</em>, Channel 4 UK</td></tr><tr><td>1992</td><td>&nbsp;Music for<em>Under Milk Wood,</em>Siriol Productions/S4C/BBC 2</td></tr></tbody></table><p>&nbsp;</p><h4>Articles in reference works</h4><p><em>Twentieth Century Britain: An Encyclopedia,</em>F. M. Leventhal (ed.), New York: Garland, 1995,&lsquo;Thomas Beecham&rsquo;,&lsquo;Bass Bands&rsquo;,&lsquo;The Early Music Revival&rsquo;,&lsquo;Welsh Music&rsquo;.</p><p><em>An Oxford Companion to the Romantic Age: British Culture</em>,<em>1776-1832</em>, Iain Calman (ed.), Oxford University Press, 1999,&lsquo;Military Bands&rsquo;.</p><p><em>The New Grove Dictionary of Music and Musicians</em>, Stanley Sadie (ed.), seventh edition, London: Macmillan Press, 2000:</p><p>&nbsp;</p><table><tbody><tr><td>Editor of&lsquo;Bands&rsquo; entry</td><td>&nbsp;</td></tr><tr><td><p><em>New entries</em>:</p><p>&lsquo;Brass bands&rsquo;<br />&lsquo;John Gladney&rsquo;<br />&lsquo;Joseph Parry&rsquo;<br />&lsquo;Trombone to 1750&rsquo;</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p></td><td><p><em>Revised entries</em>:</p><p>&lsquo;Flugelhorn&rsquo;<br />&lsquo;Cornophone&rsquo;<br />&lsquo;Sudrophone&rsquo;<br />&lsquo;Baritone&rsquo;<br />&lsquo;Althorn&rsquo;<br />&lsquo;Saxhorn&rsquo;<br />&lsquo;Bugle&rsquo;<br />&lsquo;Tenor Cor&rsquo;<br />&lsquo;Tenor Horn&rsquo;<br />&lsquo;Robert Griffith&rsquo;<br />&lsquo;Robert Griffiths&rsquo;<br />&lsquo;Eleazer Roberts&rsquo;<br />&lsquo;Friedrich Belcke&rsquo;<br />&lsquo;The Mills Family&rsquo;<br />&lsquo;Carl Boos&eacute;<br />&lsquo;Quartposaune&rsquo;</p></td></tr></tbody></table><p>&nbsp;</p><p><em>Continuum Encyclopedia of Popular Music of the World</em>, John Shepherd, David Horn, Dave Laing (eds), London; New York: Continuum, 2003 -,&rsquo;Brass Band&rsquo; and&rsquo;Wales&rsquo;</p><p><em>The Encyclopedia of the Victorian Era</em>, Tom Pendergast and Sara Pendergast, editors; James Eli Adams, editor-in-chief, 4 vols., Danbury, CT: Grolier Academic Press, 2004.&lsquo;Brass Bands&rsquo; and&lsquo;Military Bands&rsquo;.</p><p><em>The Oxford Dictionary of National Biography</em>, Colin Matthew, Brian Harrison, Lawrence Goldman (eds), Oxford University Press, 2004:</p><p>&nbsp;</p><table><tbody><tr><td><p><em>New entries</em>:</p><p>&lsquo;James James (1833-1902)&rsquo;<br />&lsquo;Joseph Parry (1841-1903)&rsquo;<br />&lsquo;John Gladney (1839-1911)&rsquo;<br />&lsquo;Edwin Swift (1843-1904)&rsquo;<br />&lsquo;Enderby Jackson (1827-1903)&rsquo;<br />&lsquo;Griffith Rhys Jones,&ldquo;Caradog&rdquo; (1834-1897)&rsquo;<br />&lsquo;(Maria) Jane Williams (1795-1873)&rsquo;<br />&lsquo;Frederick Ricketts (1881-1945)&rsquo;<br />&lsquo;Harry Mortimer (1902-1992)&rsquo;<br />&lsquo;Edward Jones (1752-1824)&rsquo;</p></td><td><p><em>Revised entries</em>:</p><p>&lsquo;Edward Stephens (1822-1855)&rsquo;<br />&lsquo;John Roberts (1822-1877)&rsquo;<br />&lsquo;Thomas Gruffydd (1815-1887)&rsquo;<br />&lsquo;Richard Mills (1809-1844)&rsquo;<br />&lsquo;John Thomas (1795-1871)&rsquo;<br />&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p></td></tr></tbody></table><p>&nbsp;</p><p><em>The Welsh Academy Encyclopaedia of Wales (Gwyddoniadur Cymru Yr Academi Gymreig)</em>, John Davies et al (eds), Cardiff: University of Wales Press, 2008:</p><p>&nbsp;</p><table><tbody><tr><td><p>Jazz bands or gazooka bands<br />Brass bands<br />Singer of the World competition<br />Popular music 1830-1945 (with Gareth Williams)<br />Cory Band<br />Cyfarthfa Band<br />Cymanfa Ganu<br />David Ivor Davies (Ivor Novello)<br />&lsquo;God Bless the Prince of Wales&rsquo;<br />&lsquo;Hen Wlad fy Nhadau&rsquo;<br />Philip Heseltine (Peter Warlock)<br />Arwel Hughes<br />&lsquo;Hymns and Arias&rsquo;<br />Evan and James James<br />Edward Jones (Bardd y Brenin)</p></td><td><p>Griffith Rhys Jones<br />&lsquo;Myfanwy&rsquo;<br />Neuadd Brangwen<br />Neuadd Dewi Sant<br />John Parry (Bardd Alaw)<br />Joseph Parry<br />Brinley Richards<br />John Roberts (Ieuan Gwyllt)<br />South Wales Choral Union<br />&lsquo;We&rsquo;ll Keep a Welcome&rsquo;<br />Grace Williams<br />Maria Jane Williams (Aberpergwm)<br />David Wynne<br />&lsquo;Men of Harlech&rsquo;</p></td></tr></tbody></table><p>&nbsp;</p><p>In press:<em>The Dictionary of Nineteenth-Century Journalism</em>, Laurel Brake and Marysa Demoor (eds), London: British Library; Academia Press: Ghent, 2009, and online by ProQuest.&lsquo;Harmonicon&rsquo; and&lsquo;British Bandsman&rsquo;.</p><p>See also<a href="http://oro.open.ac.uk/view/person/th4.html"><u>Open Research Online</u></a>for further details of Trevor Herbert&rsquo;s research publications.</p>
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  • Professor Trevor Herbert
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