Sigma Alpha Iota

sai-national.org • SUMMER 2016 • PAN PIPES 23 REVIEWS FANFARES AND FINESSE: A PERFORMER'S GUIDE TO TRUMPET HISTORY AND LITERATURE Elisa Koehler. Indiana University Press, 2014. 240 pages P rofessor Elisa Koehler (Goucher College) has, in this text, taken on the herculean task of describing not only the convoluted evolution of the modern trumpet, but discussing both the repertoire and performance practice of nearly all its ancestors. In her introductory note, Koehler advises readers to read the first chapter first, but aer that they should feel free to read as many or few chapters as they need and in whatever order suits them best. is text is an encyclopedia of trumpet-related topics; chapters are relatively short and easily digestible. While it covers a plethora of subjects, none are discussed with such significant detail as to be the definitive and final source on that issue. However, it could be very well used as a starting point for further academic research (especially given the ample bibliography and numerous appendices of suggested recordings, historical instrument collections, and more), or as a starting point for an established trumpet player looking to begin study of one or more period instruments. Fanfares and Finesse is organized roughly chronologically, with the first half of the book focusing on the trumpet's many precursors. e second half then places these instruments into a performance context, discussing their repertoire and how performers might change their approach (on period or modern instruments) in order to give a "historically informed performance." e final chapters discuss more modern topics like jazz and the brass quintet. Koehler gives historical background as well as basic pedagogical information in the initial chapters (such as a fingering chart for the cornetto). While most readers of this book would undertake learning these instruments with the help of a qualified teacher, Koehler provides would-be students with an understanding of what to expect. Greater detail is given in her discussions of the natural trumpet and cornetto, since, as Koehler points out, these instruments are commonly used in period instrument ensembles. Koehler's suggestions for preparing to learn the cornetto, however, may turn off some budding students. While she does point out the potential benefits to musical phrasing, interpretation, and artistry as worth some effort, someone still considering the cornetto may not be interested in also studying vocal technique, the Italian and German languages, or Liturgical Latin. In addition to the standard recommendation of listening to great recordings, Koehler proposes all this (not insubstantial) extra training as helpful complements to the study of the instrument. Also worthy of note are the many musical examples and photographs included in every chapter, which are vital to the discussions of historical instruments, ensembles, and their repertoire. Every instrument discussed is clearly shown, either as an original or a modern reproduction, and playing techniques or hand positions are oen pictured as well. Koehler has created a compendium of trumpet history with short, fact-filled chapters. It will serve both amateur and professional musicians alike, and few could read this text without learning something. Fanfares and Finesse is a thorough sampling of trumpet topics, including something of interest for every trumpet player, brass enthusiast, or curious reader. Jennifer Dearden is an Associate Professor of Music at Allegheny College in Meadville, PA, where she teaches trumpet, music theory, and conducts the Allegheny College Civic Symphony. She holds degrees from the University of North Texas, Florida State, and Ithaca College, where she was an Epsilon Chapter initiate. Jennifer won the National Collegiate Leadership Award in 2001. PLAYED OUT ON THE STRIP: THE RISE AND FALL OF LAS VEGAS CASINO BANDS Janis McKay, Reno and Las Vegas: University of Nevada Press, 2016. 242 pp. T hroughout the 1950s and 60s, Las Vegas was an entertainment mecca. Headliners like Nat King Cole, Billie Holiday, Louis Armstrong, Frank Sinatra, and Sammy Davis Jr. performed all along "the Strip", entertaining tremendous crowds and providing work for scores of local musicians. Janis McKay, Associate Professor of Bassoon at the University of Nevada, Las Vegas, and frequent Vegas performer, chronicles the lives of these musicians in her new book Played Out on the Strip: e Rise and Fall of Las Vegas Casino Bands. is book details the growth of live music in Las Vegas from the early days of the 20th century to its zenith as the "Entertainment Capital of the World" in the 1960s. From there, McKay discusses the rise of corporate ownership of Vegas hotels and the subsequent deterioration of musical acts, culminating in the Strike of 1989. e historical narrative denotes the different headliners that performed on the strip and the working conditions under which the house bands performed. Each chapter includes data that is liberally interspersed with brief stories from the musicians that lived during this time. e overarching theme of the book seems to be that the rise of corporate ownership, while making the hotels and casinos more reputable then when under Mafia control, resulted in a more impersonal culture. If a portion of the property (read: music lounges) wasn't making a profit, than it needed to be closed even if it was ensuring that patrons stayed in the casino and gambled. Since the book is intended to relate the stories of the musicians, there is little information about the hotel and casino owners' perspectives. However, in the preface and introduction of the book, McKay clearly explains her intent and bias, and the reader is duly warned. Played Out on the Strip is crisply and vividly written and the anecdotes provide a personal and highly entertaining touch. It is a wonderful story of this heretofore unchronicled niche in the music industry and a good read for those with an interest in the entertainment industry. Robert Bruns is a Bandmaster in the United States Army and an SAI Friend of the Arts. He received his Bachelor and Master in Music Education degrees at Ithaca College.

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