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Contests Utterly Futile?? (was: Registration - to be or not to be)

Dear Alec/List

Alec Gallagher wrote: 
> Abolish all contests.  They stifle creativity;
Not for the composers - it's an opening for new works to be commissioned
especially for bands.  For other works, it can't be forgotten that a
contesting band does also get involved with concert work .... so where's
the stifling?

> they prove absolutely nothing, because any adjudication in a brass band
> contest is necessarily subjective; 
Can't argue that it's water-tight, but consistent wins by a band must show
an indication of the standard of that band. So the results can't be wrong
all the time.
I know that  'how to adjudicate fairly' can be a contradiction of terms,
but don't ignore the fact that with new moves to improve the effectiveness
of adjudication - having multiple adjudicators, recording comments etc -
steps are being taken to reach level ground in this complex issue.

> they have restricted the repertoire; 
Don't forget that there are also quite a few entertainment contests and own
choice contests to choose from too - if anything, these types of contests
help to promote the brass band repertoire - if you hear a piece at a
contest that you like but were not familiar with, it's possible that you
could get your own band to play it at another event ... that's happened
loads of times with the bands I've played with.

You also shouldn't forget that if a band plays in a contest, it doesn't
stop them playing in concerts too - so where's the restriction?

> they have restricted the instrumentation;  
Only true if you believe the band instrumentation should change.  But don't
forget that '2 flugels' and '2 reps' have appeared in recent test pieces.

> they have hindered brass bands in
> gaining respectability and credibility as a musical medium;  
There are plenty of music festivals that orchestral players attend, there
are also Pop group competitions, Irish music competitions ... a whole host
of musical mediums have their own competitions, and they still maintain
respectability and credibility.  
Likewise, if the public who wave the 'respectability and credibility wand'
don't attend the contests (as you state that they aren't attended by anyone
outside or directly/closely linked with brass bands), how can the contests
hinder the bands in their eyes - what the eye doesn't see the heart won't
grieve over, so surely contests that aren't seen by 'outsiders' can have
absolutely no impact on them!
Also, in my experience of 'outsiders' needing a brass band (for the stage
production of Brassed Off at the National Theatre for example), one of the
first means of finding what they needed was by searching out who were the
most successful bands in the local area ..... and the criteria for success
was contests!


> in 99% of cases
> they cost the competing band money; 
Every band has the choice to attend, they're not forced to enter
competitions.  You're absolutely right, they do cost money, but the bands
involved make the decision as to how they want to spend the money they have
taken hard long hours earning .... with the recent mailings discussing the
huge number of entries in the 4th sections across the country, it appears
that the cost is something they are prepared to cover.

> they are of absolutely no interest or
> consequence to anyone outside of those directly or closely linked with
brass
> bands; 
That's exactly how I feel about football, but I wouldn't expect matches to
be stopped just because I didn't enjoy them - it boils down to 'horses for
courses' - if there is an interest in competing then contests will survive,
if you're opinion is shared by everyone, then contests will naturally die
... at the moment, the former seems to be in the lead.

> in short, contests have held brass bands back from the day they were
> invented. They are utterly futile.
The bands I have played for use contests as a valuable tool for their
improvement - with something to really aim for, individuals practise more -
so as not to let the band down on stage, it seems that the ensemble,
intonation and tuning of the band is promoted to the top of 'priority list'
for rehearsals, challenges are set by tricky test pieces which make high
demands on the band and individuals.  I appreciate that all these elements
can and generally do get applied to rehearsals for concert programmes, but
there's something about a contest that gets the adrenaline and enthusiasm
going - a contest is a one bite of the cherry situation, which breeds a
desire to be the best - sectional rehearsals, longer home practise and
fuller band rehearsals are all noticeable differences that occur in the
preparation for the contests I've attended.

Successes at contests have led to new players joining the band (not
forgetting the great pride in getting a prize and the feeling of
achievement), failures have led to greater attention by the band to look
where they are going wrong.  In addition, the social side can't be ignored
- not only do contests help to generate a great team spirit within a band
(both in the preparation and on the contest day itself), but they also
provide the perfect venue for meeting old and new friends - without
contests I wouldn't have met hardly any fellow bandspeople, or even my
husband in that case (Watford 1991 was to blame!).

You may think I've painted a very rosy picture of the 'wonderful world of
contesting' - I'm not so naive as to think that everyone is always pleased
with the results, or that the secretaries relish the additional
administration, or the players delight in every spare moment being used up
with rehearsals and practise.  I do, however, believe that contests provide
numerous opportunities for players and bands alike, and the idea of them
being 'utterly futile' just doesn't rest well in my mind.  Competiveness is
an inbuilt characteristic of the human race, so why should brass bands be
excluded.

CLAIR TOMALIN
Flugel
Clacton-on-Sea Co-Operative Band
E-Mail: c.roberts@xxxxxxxxxxxxxx
ICQ#:  21868132


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