January the 21st will find me at the University of Durham where I will be giving a paper at the conference: A Great Divide or a Longer Nineteenth Century? Music, Britain and the First World War. This paper is based on research carried out for the Royal Northern College of Music’s project Making Music in Manchester during World War One. The paper will argue that the repertoire played in Manchester’s Public Parks during the conflict reinforced a Victorian ideal of nation and patriotism. The abstract is shown below:
Conference theme number four: In what ways did popular music—whether repertoire, performers, or the industry—change because of the war? In what ways did it carry on Edwardian and Victorian traditions?
Brass Band Music, Contests and Entertainment in Manchester’s Public Parks in World War One: Reinventing Repertoire, Patriotism and Tradition?
Manchester was the gathering point for brass bands in the industrial regions surrounding Manchester. From the 1840s the growth of brass bands in the region was rapid. In spite of being a national movement, by 1914, the British Bandsman stated that ‘it could not be denied that the cradle of the brass band was on the slopes of the Pennine Chain.’ During the war years Manchester was significant for bands because the British ‘Open’ Contest at Belle Vue Gardens was the only large contest that kept going. In addition, bands played regularly in Manchester’s public parks.
1913 was a watershed year for the brass band movement. Labour and Love, Percy Fletcher’s tone poem, was performed at the Crystal Palace Contest. Labour and Love was significant as it was composed music of some substance that was available to all bands. It was the first test piece that was composed for the standardised brass band line-up and that the sources can account for fully. Composers such as Elgar and Bliss would soon follow.
In spite of the brass band movement moving away from its standard repertoire I will show that not only did older working-class traditions of music-making reinforce Victorian and Edwardian values in the public space, but also that public performance encouraged patriotism by reinventing patriotic themes found throughout British history.
. British Bandsman (18 April, 1914), p. 349.
 Jack L. Scott, The Evolution of the Brass Band and its Repertoire in Northern England (unpublished PhD Thesis, University of Sheffield, 1970), p. 267.
 Paul Hindmarsh,’Building a Repertoire: Original Compositions for the British Brass Band, 1913-1998’, in, Trevor Herbert (Ed.), The British Brass Band: A Musical and Social History (Oxford,2000), p. 248.