In the United States, the mounted band became a symbol of a growing world power, similar to ensembles in other nations with colonial aspirations in which the mountedband tradition was embraced. Plugging into the tradition of the Middle East and Europe, the United States absorbed a musical tradition that served the country well. Eventually, mounted bands were no longer needed and passed from American history. Gleason’s Sound the Trumpet, Beat the Drums reminds us that when bands became a near-ubiquitous part of American schools—adopted because of their vast popularity in society and to a new progressive curricular movement at the beginning of the twentieth century—the school band program immediately inherited both American and world band traditions. Gleason eloquently traces these global band practices in a rich context of American, military, and world history and shows how they came to be a part of both mounted band traditions and other American band traditions. For this reason alone, this book is highly recommended.

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书评：音乐教育的起源和基础：国际视角音乐教育的起源和基础：国际视角，第二版，考克斯戈登史蒂文斯罗宾，编辑。伦敦：Bloomsbury Academic，2017 年。xvi + 290 页，115.20 美元（精装本），ISBN 978-1-4742-2909-8。35.96 美元（平装本），ISBN 978-1-4742-2908-1。22.49 美元（电子书），ISBN 978-1-4742-2912-8。

在美国，骑马乐队成为日益壮大的世界强国的象征，类似于其他具有殖民抱负的国家的乐团，在这些国家中，骑马乐队的传统受到了欢迎。美国融入中东和欧洲的传统，吸收了为国家服务的音乐传统。最终，美国历史上不再需要安装乐队。格里森的《吹小号，打鼓》提醒我们，当乐队成为美国学校几乎无处不在的一部分时——由于它们在社会上的广泛流行和二十世纪初的新进步课程运动而被采用——学校乐队计划立即继承了美国和世界乐队的传统。格里森雄辩地在美国、军事、和世界历史，并展示他们如何成为骑乘乐队传统和其他美国乐队传统的一部分。仅出于这个原因，强烈推荐这本书。