Style
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Most people would regard the Minuteman Band's style as that of a corps style, forming precise drill sets and shapes. The band moves from set to set using a "roll step" or "glide step" and members stay in the form while in motion. However, The Minuteman Band tends to mix in some free form or scramble band techniques with more the traditional marching styles. Usually, for the main show theme, traditional marching band styles will be used and then there will be some songs that are looser and less rigid and members are frequently encouraged to have fun to excite the audience during these tunes. The band's use of amplification with electric guitars and other percussion often gives the band the reputation as a non-traditional marching band.
Read more about this topic: University Of Massachusetts Minuteman Marching Band
Famous quotes containing the word style:
“Everything ponderous, viscous, and solemnly clumsy, all long- winded and boring types of style are developed in profuse variety among Germans—forgive me the fact that even Goethe’s prose, in its mixture of stiffness and elegance, is no exception, being a reflection of the “good old time” to which it belongs, and a reflection of German taste at a time when there still was a “German taste”Ma rococo taste in moribus et artibus.”
—Friedrich Nietzsche (1844–1900)
“On the first days, like a piece of music that one will later be mad about, but that one does not yet distinguish, that which I was to love so much in [Bergotte’s] style was not yet clear to me. I could not put down the novel that I was reading, but I thought that I was only interested in the subject, as in the first moments of love when one goes every day to see a woman at some gathering, or some pastime, by the amusements to which one believes to be attracted.”
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“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
—Helen Hayes (1900–1993)