John Philip Sousa | A Capitol Fourth | PBS

Thank you, my friend SGT (Join to see) for making us aware that on September 26, 1892 John Philip Sousa's civilian band made the first public performance at Stillman Music Hall in Plainfield, New Jersey.

John Philip Sousa
"John Philip Sousa (/ˈsuːsə/;[a]; November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era, known primarily for American military and patriotic marches. Because of his mastery of march composition, he is known as "The March King", or the "American March King" due to his British counterpart, Kenneth J. Alford also being known by the former nickname. Among his best-known marches are "The Stars and Stripes Forever" (National March of the United States of America), "Semper Fidelis" (Official March of the United States Marine Corps), "The Liberty Bell" (used as the theme for Monty Python's Flying Circus), "The Thunderer" and "The Washington Post".

Sousa began his career playing violin and studying music theory and composition under John Esputa and George Felix Benkert. His father enlisted him in the United States Marine Band as an apprentice in 1868. After departing the band in 1875, Sousa learned to conduct. From 1880 until his death, he focused exclusively on conducting and the writing of music. He eventually rejoined the Marine Band and served there for 12 years as director. On leaving the Marine Band, Sousa organized his own band. Sousa aided in the development of the sousaphone, a large brass instrument similar to the helicon and tuba. At the outbreak of World War I, Sousa was commissioned as a lieutenant commander and led the Naval Reserve Band in Illinois. Following his tenure, he returned to conduct the Sousa Band until his death in 1932. In the 1920s he was promoted to lieutenant commander in the naval reserve, but never saw active service again."
https://youtu.be/xMnmcZc9lKc?t=50

Images
1. Painting of Sousa by Capolino. Music Division, Library of Congress
2. John Philip Sousa in 1900; photo by Elmer Chickering.
3. 1940 2 cents (Famous American series) John Philip Sousa Scott issue number 880
4. Sheet music cover, 1896.

Biography
1. loc.gov
2. .classiccat.net/sousa_jp

Background from loc.gov/item/ihas.200152755/
"John Philip Sousa was born in Washington, D. C. on November 6, 1854. His father, John Antonio Sousa, was born in Spain of Portuguese parents, and his mother, Marie Elizabeth Trinkaus, was born in Bavaria.
Sousa received his early education in Washington public schools, while simultaneously studying music at a private conservatory. At age 13, he enlisted in the U.S. Marine Band as a "boy" (apprentice) musician, but he also continued his private music studies. His most important teacher was George Felix Benkert, with whom he studied violin, harmony, and composition. After serving seven years with the marines, he was discharged. Thereafter, he performed as a violinist and conductor in various theater orchestras in Washington and Philadelphia.
By 1880, his fame as a conductor, composer, and arranger had been established. He was appointed leader of the U. S. Marine Band and held this position for 12 years, eventually molding the band into the finest military band in the world.
Sousa resigned from the Marine Corps in 1892 to form his own civilian band. In a matter of months this band assumed a position of equality with the finest symphony orchestras of the day. It was a concert organization, not a marching band. The finest available instrumentalists were engaged, and among the celebrated soloists to perform with the band over the years were Herbert L. Clarke (cornet), Arthur Pryor (trombone), Simone Mantia (euphonium), Estelle Liebling (soprano), and Maud Powell (violin). Numerous other artists of international fame performed with the band at one time or another.
People throughout the world flocked to see "The March King" during his many American and worldwide tours. He employed a principle that endeared him to the public: Everything was played to perfection, whether it was a classical masterpiece or a popular song.
Sousa was a man of considerable self-discipline and extraordinary talent. He excelled in everything he undertook, yet he was unassuming, approachable, tolerant, and in possession of an almost saintly disposition. To all who knew him, he was a man of incredibly high moral standards. From his childhood, he was determined, and industrious, and in command of such an unbounded optimism that nothing seemed impossible to him. Foremost in his mind was how best to please his audiences.
Sousa's musical compositions represent a heritage that belongs not only to Americans, but also to vast numbers of music lovers around the world. His influence on American musical tastes was remarkable, and much of his influence spread abroad. The Sousa band traveled the world in 1910-1911, made four additional tours of Europe, and annual tours of America.
Although Sousa is stereotyped as a march composer, he composed music of many forms, including 15 operettas. Among his many original works for band are suites, humoresques, fantasies, descriptive pieces, and dances. In addition to the over 200 songs of his operettas, he composed 70 other vocal works, and many of these vocal works wee transcribed for use with the Sousa Band.
The musical philosophy, which stimulated his composing, ("I would rather be the composer of an inspired march than of a manufactured symphony.") is reflected in all of his works. Basically a humble, deeply religious man, he composed only upon genuine inspiration and repeatedly stated that his melodies came from a "Higher Power."
Sousa was an indefatigable worker, proclaiming that, "When you hear of Sousa retiring, you will hear of Sousa dead." This prediction came true; he died suddenly following a rehearsal of the Ringgold Band in Reading Pennsylvania on March 6, 1932. He is buried with other family members at Congressional Cemetery in Washington. Among hundreds of honors he received during his lifetime and posthumously, was election to the Hall of Fame for Great Americans. Only 102 persons have been so honored.
-Paul E. Bierley"


2. Background from classiccat.net/sousa_jp/biography.php
Nickname: The March King
Place of birth: Washington, D.C., United
Place of death: Reading, Pennsylvania
Place of burial: Congressional Cemetery, Washington, D.C.
Allegiance: United States of America
Service/branch: United States Marine Corps; United States Navy
Years of service: Marines: 1868-1875, 1880-1892; Navy: 1917-1918
Rank: Warrant Officer (Marines), Lieutenant Commander (Navy)
Commands held: U.S. Marine Band, U.S. Navy Great Lakes Naval Station Band

Issue of 1940
John Philip Sousa (pronounced /ˈsuːsə/[1]; November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era, known particularly for American military and patriotic marches. Because of his mastery of march composition, he is known as "The March King."
Contents
[hide]
1 Biography
2 Military service
3 Music
3.1 Marches
3.2 Operettas
4 Sousa the Freemason
5 Other writing, skills, and interests
6 Media
7 Notes
8 References
9 External links
Biography

John Philip Sousa was born in Washington, D.C., on November 6, 1854, to John Antonio Sousa and Maria Elisabeth Trinkhaus. His parents were of Portuguese and Bavarian (German) descent.[2] Sousa started his music education by playing the violin as a pupil of John Esputa and G. F. Benkert for harmony and musical composition at the age of six. He was found to have absolute pitch. When Sousa reached the age of 13, his father, a trombonist in the Marine Band, enlisted his son in the United States Marine Corps as an apprentice to keep him from joining a circus band. Sousa served his apprenticeship for seven years until 1875 and apparently learned to play all the wind instruments while honing his mettle with the violin.[citation needed]

On December 30, 1879, Sousa married Jane van Middlesworth Bellis (1862–1944). They had three children together: John Philip, Jr. (April 1, 1881 – May 18, 1937), Jane Priscilla (August 7, 1882 – October 28, 1958), and Helen (January 21, 1887 – October 14, 1975). All are buried in the John Philip Sousa plot in the Congressional Cemetery. Jane joined the Daughters of the American Revolution in 1907.[citation needed]
Several years after serving his apprenticeship, Sousa joined a theatrical (pit) orchestra where he learned to conduct. He returned to the U.S. Marine Band as its head in 1880 and remained as its conductor until 1892. Sousa led "The President's Own" band under five presidents from Rutherford B. Hayes to Benjamin Harrison. Sousa's band played at two Inaugural Balls, those of James Garfield in 1881, and Benjamin Harrison in 1889.[3][4]
Sousa organized his own band the year he left the Marine Band. The Sousa Band toured from 1892–1931, performing at 15,623 concerts.[5] In 1900, his band represented the United States at the Paris Exposition before touring Europe. In Paris, the Sousa Band marched through the streets including the Champs-Élysées to the Arc de Triomphe – one of only eight parades the band marched in over its forty years.[citation needed] In 1911 they went to Australia and performed in Sydney and Melbourne (then the national capital).

The marching brass bass, or sousaphone, was created by J. W. Pepper - a Philadelphia instrument maker who created the instrument in 1893 at Mr. Sousa's request using several of his suggestions in its design. He wanted a tuba that could sound upward and over the band whether its player was seated or marching. The sousaphone was re-created in 1898 by C. G. Conn and this was the model that Sousa preferred to use.
Sousa repeatedly refused to conduct on the radio, fearing a lack of personal contact with the audience. He was finally persuaded to do so in 1929 and became a smash hit.[citation needed]
Sousa lived in Sands Point, New York. A school (John Philip Sousa Elementary) and a band shell are named after him and there is also a memorial tree planted in nearby Port Washington. Wild Bank, his seaside house on Hicks Lane, has been designated a National Historic Landmark, although it remains a private home and is not open to the public.[6]
Sousa died of heart failure at the age of 77 at approximately 1:30 in the morning on March 6, 1932, in his room on the fourteenth floor of the Abraham Lincoln Hotel in Reading, Pennsylvania. He had conducted a rehearsal of "Stars and Stripes Forever" the previous day with the Ringgold Band. He is buried in Washington, D.C.'s Congressional Cemetery.[7]
Military service
Sousa served in the U.S. Marine Corps, first from 1868 to 1875 as an apprentice musician, and then as the head of the Marine Band from 1880 to 1892; he was a Sergeant Major for most of his second period of Marine service and was a Warrant Officer at the time he resigned.
He volunteered to serve as a bandmaster in the U.S. Army during the Spanish–American War but was unable to serve due to illness.

During World War I, he was commissioned a Lieutenant Commander in the U.S. Naval Reserve and led the Navy Band at the Great Lakes Naval Station near Chicago, Illinois. Being independently wealthy, he donated his entire naval salary minus one dollar a year to the Sailors' and Marines' Relief Fund. After returning to his own band at the end of the war, he continued to wear his naval uniform for most of his concerts and other public appearances.
Music


Sousa and the Marine Corps Band, 1893
See also: List of compositions by John Philip Sousa
Marches
Sousa wrote 136 marches, published by the Sam Fox Publishing Company beginning in 1917 and continuing until his death.[8] Some of his most popular and notable are:
"The Gladiator March" (1886)
"Semper Fidelis" (1888) (Official March of the United States Marine Corps)
"The Washington Post" (1889)
"The Thunderer" (1889)
"High School Cadets" (1890)
"The Liberty Bell" (1893) (credits theme for Monty Python's Flying Circus)
"Manhattan Beach March" (1893)
"King Cotton" (1895)
"Stars and Stripes Forever" (1896) (National March of the United States)[9]
"El Capitan" (1896)
"Hands Across the Sea" (dedicated to the band of the Virginia Tech Corps of Cadets - the Highty-Tighties) (1899)
"Hail to the Spirit of Liberty" March (1900)
"Invincible Eagle" (1901) (Dedicated to Pan-American Buffalo Exposition)
"Fairest of the Fair" (1908)
"Glory of the Yankee Navy" (1909)
"U.S. Field Artillery" (1917) (Modified version The Army Goes Rolling Along is the official song of the U.S. Army)[10]
"Who's Who in Navy Blue" (1920)
"The Gallant Seventh" (1922)
"Nobles of the Mystic Shrine" (1923)
"The Black Horse Troop" (1924)
"Pride of the Wolverines" (1926)
"Minnesota March" (1927)
"Salvation Army March" (1930) (dedicated to The Salvation Army's 50th anniversary in the USA)
Sousa wrote marches for several American universities, including University of Illinois, University of Nebraska, Kansas State University, Marquette University, and University of Minnesota.[citation needed]
Operettas


Sheet music cover, 1896
The Queen of Hearts (1885), also known as Royalty and Roguery
The Smugglers (1882)
Désirée (1883)
El Capitan (1896)
The Bride Elect (1897), libretto by Sousa.
The Charlatan (1898), also known as The Mystical Miss, lyrics by Sousa[11]
Chris and the Wonderful Lamp (1899)
The Free Lance (1905)
The American Maid (1909), also known as The Glass Blowers.
These operettas which Gervase Hughes calls "notable" (1) also show a variety of French, Viennese and British influences. (In his younger days, Sousa made an orchestration of H.M.S. Pinafore and played the first violin on the American tour of Jacques Offenbach.) The music of these operettas is light and cheerful. The Glass Blowers and Desirée have had revivals, the latter having been released on CD like El Capitan, the best known of them. El Capitan has been in production somewhere in the world ever since it was written and makes fun of false heroes. Still more outspoken against militarism is The Free Lance, the story of two kingdoms becoming united, which found its way to Germany (as "Der Feldhauptmann") by the time the Berlin Wall came down.
Marches and waltzes have been derived from many of these stage-works. Sousa also composed the music for six operettas that were either unfinished or not produced: The Devils' Deputy, Florine, The Irish Dragoon, Katherine, The Victory, and The Wolf.
In addition, Sousa wrote a march based on themes from Gilbert and Sullivan's comic opera The Mikado, the elegant overture Our Flirtations, a number of musical suites, etc.[12] He also frequently added Sullivan opera overtures or other Sullivan pieces to his concerts.[5]
Sousa the Freemason
Although Freemasonry is an organization influenced by religious beliefs, John Philip Sousa himself was not. He was an Episcopalian, and while tolerant of religious beliefs in general, he personally regarded music as providing more Divine inspiration for people than Sunday sermons.[13] He is also widely quoted saying, "My religion lies in my composition."[14]
One year after the 1882 Transit of Venus, Sousa was commissioned to compose a processional for the unveiling of a bronze statue of American physicist Joseph Henry, who had died in 1878. Henry, who had developed the first electric motor, was also the first secretary of the Smithsonian Institution in Washington, D.C.[citation needed]
As a Freemason, Sousa was fascinated by what the group considered mystical qualities in natural phenomena. According to Sten Odenwald of the NASA IMAGE Science Center,[15] this played a significant role in the selection of the time and date of the performance, April 19, 1883, at 4:00 P.M. Dr. Odenwald points out that Venus and Mars, invisible to the participants, were setting in the west. At the same time, the moon, Uranus, and Virgo were rising in the east, Saturn had crossed the meridian, and Jupiter was directly overhead. According to Masonic lore, Venus was associated with the element copper, and Joseph Henry had used large quantities of copper to build his electric motors.[citation needed]
The Transit of Venus March never caught on during Sousa's lifetime. It went unplayed for more than 100 years after Sousa's copies of the music were destroyed in a flood. As reported in The Washington Post, Library of Congress employee Loras Schissel recently found copies of the old sheet music for Venus "languishing in the library's files". The piece was resurrected recently, in time for the 2004 Transit.[16]
Sousa also composed a march, "Nobles of the Mystic Shrine", dedicated to the Ancient Arabic Order of the Nobles of the Mystic Shrine, also known as the Shriners.[17]
Other writing, skills, and interests
Sousa exhibited many talents aside from music. He wrote three novels -- "The Fifth String," "Pipetown Sandy," and "The Transit of Venus" -- as well as a full-length autobiography, Marching Along and a great number of articles and letters-to-the-editor on a variety of subjects. His skill as a horseman met championship criteria.[citation needed] He was also a connoisseur of cheese.[citation needed]
As a trapshooter, he ranks as one of the all-time greats, and he is enshrined in the Trapshooting Hall of Fame.[18] He even organized the first national trapshooting organization, a forerunner to today's Amateur Trapshooting Association. Sousa remained active in the fledgling ATA for some time after its formation. Some credit Sousa as the father of organized trapshooting in America. Sousa also wrote numerous articles about trapshooting.

Perhaps a quote from his Trapshooting Hall of Fame biography says it best: "Let me say that just about the sweetest music to me is when I call, ‘pull,’ the old gun barks, and the referee in perfect key announces, ‘dead’."[18]
In his 1902 novel The Fifth String a young violinist makes a deal with the Devil for a magic violin with five strings. The strings can excite the emotions of Pity, Hope, Love and Joy - the fifth string is Death and can be played only once before causing the player's own death. He has a brilliant career, but cannot win the love of the woman he desires. At a final concert, he plays upon the death string.
In 1905, Sousa published the book Pipetown Sandy, which included a satirical poem titled "The Feast of the Monkeys". The poem describes a lavish party attended by a variety of animals, but overshadowed by the King of Beasts, the lion…who allows the muttering guests the privilege of watching him eat the entire feast. At the end of his gluttony, the lion explains, "Come all rejoice, You’ve seen your monarch dine."
In 1920, he wrote another work called The Transit of Venus, a 40,000-word story. It is about a group of misogynists called the Alimony Club who, as a way of temporarily escaping the society of women, embark on a sea voyage to observe the transit of Venus. The captain's niece, however, has stowed away on board and soon wins over the men.[19]
Sousa held a very low opinion of the emerging and upstart recording industry. In a submission to a congressional hearing in 1906, he argued:
These talking machines are going to ruin the artistic development of music in this country. When I was a boy...in front of every house in the summer evenings, you would find young people together singing the songs of the day or old songs. Today you hear these infernal machines going night and day. We will not have a vocal cord left. The vocal cord will be eliminated by a process of evolution, as was the tail of man when he came from the ape.
Law professor Lawrence Lessig cited this passage[20] to argue that in creating a system of copyrights in which control of music is in the hands of record labels, Sousa was essentially correct. Sousa also was credited with referring to records as "canned music," referring to the fact that cylinder records were sold in cans.
Sousa's antipathy to recording was such that he often refused to conduct his band if it was being recorded. Nevertheless, Sousa's band made numerous recordings, the earliest being issued on cylinders by several companies, followed by many recordings on discs by the Berliner Gramophone Company and its successor, the Victor Talking Machine Company (later RCA Victor). The Berliner recordings were conducted by Henry Higgins (one of Sousa's cornet soloists) and Arthur Pryor (Sousa's trombone soloist and assistant conductor), with Sousa quoted as saying,[21] "I have never been in the gramophone company's office in my life." A handful of the Victor recordings were actually conducted by Sousa, but most were conducted by Pryor, Herbert L. Clarke, Edwin H. Clarke, or by four of Victor's most prolific house musicians: Walter B. Rogers (who had also been a cornet soloist with Sousa), Rosario Bourdon, Josef Pasternack, and Nathaniel Shilkret.[21] Details of the Victor recordings are available in the external link below to the EDVR.
Sousa also appeared with his band in newsreels and on radio broadcasts (beginning with a 1929 nationwide broadcast on NBC). In 1999, Legacy Records released some of Sousa's historic recordings on CD.[22]
In 1922, he accepted the invitation of the national chapter to become an honorary member of Kappa Kappa Psi, the national honorary band fraternity. Later, in 1925, he was initiated as an honorary member of Phi Mu Alpha Sinfonia, the national fraternity for men in music, by the fraternity's Alpha Xi chapter at the University of Illinois.
In 1952, 20th Century Fox honored Sousa in their Technicolor feature film Stars and Stripes Forever with Clifton Webb portraying the composer. Fox music director Alfred Newman arranged the music and conducted the studio orchestra for the soundtrack. It was loosely based on Sousa's memoirs, Marching Along.
Sousa also wrote " A manual for trumpet and drum" an excellent booklet, published by the Ludwig drum company, with fine advice for the playing of the drum and trumpet. An early version of the trumpet solo to "Semper Fidelis" is included in this volume.
Media
Stars and Stripes Forever

A 1909 Edison Records recording of Sousa's Band performing Sousa's Stars and Stripes Forever.
Semper Fidelis March

John Philip Sousa's Semper Fidelis March, the official march of the U.S. Marine Corps. Performed by the U.S. Marine Band in June 1909.
Comrades of the Legion

John Philip Sousa's march "Comrades of the Legion" (1920), from "The President's Own" United States Marine Band's album "Semper Fidelis": Music of John Philip Sousa
Notes
^ Merriam-Webster Also commonly /ˈsuːzə/.
^ "The Library of Congress Biography: John Philip Sousa". http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.200152755/default.html. Retrieved 2008-01-10.
^ James A. Garfield (1989). "Inaugural Addresses of the Presidents of the United States". http://www.bartleby.com/124/pres36.html.
^ Benjamin Harrison (1989). "Inaugural Addresses of the Presidents of the United States".
^ a b Bierley, Paul Edmund, “The Incredible Band of John Philip Sousa”. University of Illinois Press, 2006.
^ Richard Greenwood (May 30, 1975), National Register of Historic Places Inventory-Nomination: John Philip Sousa HomePDF (351 KB), National Park Service and Accompanying photos, exterior, from 1975PDF (1.09 MB)
^ Congressionalcemetery.org
^ "Sam Fox, 89, Dies; Music Publisher", New York Times, December 1, 1971
^ "US Code: Title 36, 304". Cornell Law School. 2006-10-30. http://www.law.cornell.edu/uscode/html/uscode36/usc_sec_36_00000304----000-.html. Retrieved 2006-11-02.
^ Army Regulation 220-90, Army Bands, 27 November 2000, para 2-5f, g
^ Vocal score of The Charlatan
^ Hughes, Gervase. Composers of Operetta, New York, 1962
^ Bierley, Paul E. John Philip Sousa: American Phenomenon, Prentice-Hall, Inc., 1973p. 102
^ http://www.brainyquote.com/quotes/quotes/j/johnphilip278555.html
^ TransitFAQs at image.gsfc.nasa.gov
^ John Philip Sousa & The Transit of Venus at transitofvenus.org
^ Hodapp, Christopher. Solomon's Builders: Freemasons, Founding Fathers and the Secrets of Washington, D. C. Ulysses Press, 2007. p. 268
^ a b "John Philip Sousa". National Trapshooting Hall of Fame. Archived from the original on 2008-05-05. http://web.archive.org/web/ [login to see] 0354/http://www.traphof.org/inductees/sousa_john_philip.htm. Retrieved 2008-02-25.
^ Willow Grove Park
^ Lawrence Lessig, 2008, Remix: making art and commerce thrive in the hybrid economy, London: Bloomsbury Academic. Chapter 1.
^ a b Smart, James R., The Sousa Band: A Discography, Library of Congress, Washington, D.C., 1970
^ "March King: John Philip Sousa Conducts His Own Marches". amazon.com. http://www.amazon.com/March-King-Philip-Conducts-Marches/dp/B00000I0GN/ref=pd_sim_m_title_3. Retrieved 2008-02-25.
References
75 years after death here, Sousa sells out the Abe - Reading Eagle Newspaper
Congressional hearing: in Copyright's Communication Policy by Professor Tim Woo, University of Virginia, May 2004 - Caution, 560k PDF.
Berger, Kenneth. The March King and His Band: The Story of John Philip Sousa. New York: Exposition Press, 1957.
Bierley, Paul E. “The Incredible Band of John Philip Sousa”. University of Illinois Press, 2006.
Bierley, Paul E. John Philip Sousa, American Phenomenon. Rev. ed. Miami: Warner Brothers Publications, 2001.
Bierley, Paul E. “The Works of John Philip Sousa” Integrity Press, 1984.
Delaphine, Edward S. John Philip Sousa and the National Anthem. Frederick, MD: Great Southern Press, 1983.
Lingg, Ann M. John Philip Sousa. New York: Henry Holt, 1954.
Newsom, John, ed. Perspectives on John Philip Sousa. Washington, DC: Library of Congress, 1983.
John Philip Sousa was raised as a freemason at the Hiram-Takoma Lodge #10 in the District of Washington
External links
The Sousa Archives and Center for American Music – Provides research-oriented management of band-related collections, including a large portion of Sousa's manuscripts and personal papers, held for use by students, scholars, and performing musicians
The Works of John Philip Sousa – Marches in MIDI format; from The John Philip Sousa Home Page by David Lovrien, hosted by the Dallas Wind Symphony
MIDI sequences of public domain piano transcriptions of 115 compositions by Sousa
Harris, Neil: "John Philip Sousa and the Culture of Reassurance"
Fennell, Frederick: "The Sousa March: A Personal View"
Works by John Philip Sousa at Project Gutenberg
The Experiences of a Bandmaster – Project Gutenberg e-text of book by Sousa
The Fifth String – (ditto)
Works by The Sousa Band at Project Gutenberg (audio recordings)
The Feast of the Monkeys – the "nonsense verse" that Sousa wrote.
John Philip Sousa at Find a Grave Retrieved on 2009-5-15
Sousa discography
Victor Records by Sousa's Band from the Encyclopedic Discography of Victor Recordings (EDVR)
Numerous Sousa photos
Free scores by John Philip Sousa in the International Music Score Library Project
The Mutopia Project has compositions by John Philip Sousa
Free Brass Band version of Stars & Stripes Forever"

Notes
^ Merriam-Webster Also commonly /ˈsuːzə/.
^ "The Library of Congress Biography: John Philip Sousa". loc.gov/diglib/ihas/loc.natlib.ihas.200152755/default.html. Retrieved 2008-01-10.
^ James A. Garfield (1989). "Inaugural Addresses of the Presidents of the United States". bartleby.com/124/pres36.html.
^ Benjamin Harrison (1989). "Inaugural Addresses of the Presidents of the United States".
^ a b Bierley, Paul Edmund, “The Incredible Band of John Philip Sousa”. University of Illinois Press, 2006.
^ Richard Greenwood (May 30, 1975), National Register of Historic Places Inventory-Nomination: John Philip Sousa HomePDF (351 KB), National Park Service and Accompanying photos, exterior, from 1975PDF (1.09 MB)
^ Congressionalcemetery.org
^ "Sam Fox, 89, Dies; Music Publisher", New York Times, December 1, 1971
^ "US Code: Title 36, 304". Cornell Law School. 2006-10-30. law.cornell.edu/uscode/html/uscode36/usc_sec_36_00000304----000-.html. Retrieved 2006-11-02.
^ Army Regulation 220-90, Army Bands, 27 November 2000, para 2-5f, g
^ Vocal score of The Charlatan
^ Hughes, Gervase. Composers of Operetta, New York, 1962
^ Bierley, Paul E. John Philip Sousa: American Phenomenon, Prentice-Hall, Inc., 1973p. 102
^ brainyquote.com/quotes/quotes/j/johnphilip278555.html
^ TransitFAQs at image.gsfc.nasa.gov
^ John Philip Sousa & The Transit of Venus at transitofvenus.org
^ Hodapp, Christopher. Solomon's Builders: Freemasons, Founding Fathers and the Secrets of Washington, D. C. Ulysses Press, 2007. p. 268
^ a b "John Philip Sousa". National Trapshooting Hall of Fame. Archived from the original on 2008-05-05. archive.org/web/ [login to see] 0354/http://www.traphof.org/inductees/sousa_john_philip.htm. Retrieved 2008-02-25.
^ Willow Grove Park
^ Lawrence Lessig, 2008, Remix: making art and commerce thrive in the hybrid economy, London: Bloomsbury Academic. Chapter 1.
^ a b Smart, James R., The Sousa Band: A Discography, Library of Congress, Washington, D.C., 1970
^ "March King: John Philip Sousa Conducts His Own Marches". amazon.com. amazon.com/March-King-Philip-Conducts-Marches/dp/B00000I0GN/ref=pd_sim_m_title_3. Retrieved 2008-02-25."

FYI FYI SP5 Jeannie Carle SPC Chris Bayner-Cwik SPC Diana Rodriguez SPC Diana D. SSG Diane R. LTC Hillary Luton Maj Kim Patterson Sgt Kelli Mays SFC (Join to see) SGT Elizabeth S SSG(P) James J. Palmer IV aka "JP4" MSG Andrew White SSG(P) (Join to see) 1SG Steven Imerman COL Mikel J. Burroughs Col Carl Whicker Lt Col John (Jack) Christensen MAJ Rene De La Rosa TSgt David L.

We listened to his music at lunchtime on base...played over the speaker system.

He was a very gifted composer and I have been a fan of JPS since I was about 12 years old.
Every Sunday morning my father would play JPS's greatest marches and that is how he got everybody up for church. Still enjoy that album but my kids hated it...