History
Military training was an important part of the early curriculum at Ohio State, and a band was formed to provide music to the cadets for drills. Organized in 1878, the band was a student led organization until 1896. Gustav Bruder, a professional musician with military band experience, was hired to lead the band. Under Bruder, the band grew in size and began playing and marching for all military and athletic events. The OSUMB has increased in size over the years, from 100 members in 1920 to 225 members today. The last expansion occurred in the '70's. Women first joined the band in 1973 following the passage of Title IX legislation. Today, approximately 20% - 25% of the band's members are women each year.
Many marching band innovations were first tried and developed at Ohio State. Among them are: floating and animated formations, measured step marching, script writing, and the fast cadence with a high knee lift. Brass instruments especially designed for marching bands were also first used at Ohio State. In 1934 the OSUMB adopted an all brass-and-percussion instrumentation, one of the first collegiate bands to do so.
The school fight songs—"Buckeye Battle Cry" and "Fight the Team Across the Field"—were first performed in the early 20th century. Other traditional songs performed by the band are the 1960s pop hit "Hang on Sloopy" and the famous "We Don't Give a Damn for the Whole State of Michigan", which was popularized by James Thurber in the Broadway production of The Male Animal.
Read more about this topic: The Ohio State University Marching Band
Famous quotes containing the word history:
“History is the present. That’s why every generation writes it anew. But what most people think of as history is its end product, myth.”
—E.L. (Edgar Lawrence)
“... the history of the race, from infancy through its stages of barbarism, heathenism, civilization, and Christianity, is a process of suffering, as the lower principles of humanity are gradually subjected to the higher.”
—Catherine E. Beecher (1800–1878)
“The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism.... Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.”
—Camille Paglia (b. 1947)