By Douglas M. Jordan
This reference advisor to the lifestyles and paintings of the prolific American wind band composer, Alfred Reed, features a short biography through distinct bibliography and discography sections. The biography strains Reed's existence and people studies that helped to form his track and philosophies. awareness is given to Reed's recognition with and affects upon bands during the international and particularly in Japan. a whole directory of Reed's greater than 250 works and premiers are classified via style. The wide discography part cites greater than four hundred recordings, and the bibliography part contains the numerous writings via and approximately Reed.This special reference will entice song students and band administrators with an curiosity in Alfred Reed and in wind band track. As an invaluable examine software, every one element of the amount is cross-referenced. also, appendices record Reed's compositions, one alphabetically and the opposite chronologically.
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Extra resources for Alfred Reed: A Bio-Bibliography (Bio-Bibliographies in Music)
After considerable discussion about the potentially harmful effects of a "serious" composer associating his name with "popular" music, Reed agreed to adopt not one, but two pseudonyms. The n a m e under which he wrote the Disney arrangements was a "house name," meaning t h a t the Hansen company registered a name with ASCAP under which many composers wrote. If one were to trace the n a m e to find w h a t this composer composed, one would have to be aware t h a t many composers wrote under it. Hansen's house name was Robert Powers, and Reed wrote a complete series of Disney music under it.
Reed was very excited about the invitation and immediately went to see Bernard Kalban to tell him t h a t he would be moving. When he informed Kalban about the invitation to become the conductor of the Baylor University Orchestra, Kalban alerted Charles H. Hansen who wanted to meet with Reed. During the meeting the discussion turned toward the developing school band movement, and Hansen asked Reed what he knew about it. Reed answered t h a t he knew nothing about school bands, because all his work experience had been with adult musicians in the professional music field.
When the Hansen corporation began to grow, it needed more warehouse space, 32 Biography and later moved into the first floor of the same building. This w a s the main headquarters of the business until 1958, when it moved to Miami Beach, Florida. During his early years at Hansen, Reed wrote and arranged many pieces of music. He continued to write music during his entire association with Hansen even though he gradually entered into a supervisory role in the arranging, editing, and publishing departments.
Alfred Reed: A Bio-Bibliography (Bio-Bibliographies in Music) by Douglas M. Jordan