The concept of a "march" in the context of this article is not a gemstone, but rather a historical and cultural phenomenon. The provided sources detail the evolution of musical marches and a specific historical protest march, the Jarrow Crusade. There is no information within these sources about a gemstone named "marches" or any birthstone associated with the term. Therefore, a comprehensive article of 2000 words on a non-existent gemstone is not possible based on the given materials. However, a detailed article examining the historical and cultural significance of marches, particularly the Jarrow Crusade, can be constructed from the available information.
The Origins and Evolution of the Musical March
The musical form of the march has a history that stretches back millennia. Evidence suggests that music accompanied the movement of soldiers as early as the 16th century B.C. Over three thousand years later, Emperor Maximilian I utilized martial music to regulate the movements of the Swabian infantry, a practice that European infantry units subsequently adopted to facilitate organized marching. The primitive marches of this era were commonly played by fifes and drums.
The term "march" itself derives from the French word marcher, which translates to "to pound the ground with the feet." This etymology is fitting, as the word was used to describe military music that accompanied troop movements as early as the Thirty Years' War (1618-1648). Some of the earliest surviving examples of marches include Lillibulero from England and King James' March from Scotland.
During the 18th century, two distinct march cadences emerged. The first was the slow or common march, which the British reportedly used at tempi ranging from 60 to 80 beats per minute. The quick march, used for parades, maneuvers, and reviews, operated at a faster tempo of 100-140 beats per minute. As military band instrumentation and techniques advanced, the march evolved in sophistication and complexity. By the beginning of the 19th century, martial music was no longer solely for troop movement; it had become integral to pageantry, state ceremonies, and social functions, solidifying its place as a repertoire staple for orderly processions.
The March in the 19th Century and Beyond
The 19th century marked a period of considerable status for the march form. Hundreds of pieces were dedicated to military units, and marches were composed for specific occasions, institutions, and famous individuals. Notable examples from this era include Johann Strauss, Sr.'s Radetzky March (1848), D.W. Reeves's Second Regiment Connecticut National Guard March (1880), and John Philip Sousa's The Liberty Bell (1893).
Toward the latter part of the 19th century, the quickstep became the dominant march form, used for both military and civilian applications. The J.W. Pepper Company of Philadelphia emerged as the leading publisher of quicksteps in the United States. Over time, the term "march" acquired broad usage, coming to define anything in 2/4, 4/4, or 6/8 meter. This semantic expansion is exemplified by the Pepper company's decision in the early 1900s to re-issue their quicksteps as marches without any musical alterations.
In North America, several common types of marches are used. Military marches are performed at tempi ranging from 108 to 120 beats per minute and demand precise rhythm, articulation, and proper accentuation. Concert marches, also known as symphonic marches, are intended for concert use and are typically scored more delicately than those used for marching. They allow for a greater dynamic range and require more finesse and attention to periodic style from performers. Circus marches, such as Julius Fučík's Einzug der Gladiatoren (Entry of the Gladiators), also known in America as Thunder and Blazes, musically reflect the bravura and pageantry of the circus. This famous march was adopted by circuses and is often performed at a much faster tempo than the composer originally intended.
The march form is not exclusive to any single culture. Primarily due to military requirements, most countries have developed their own march literature, though significant borrowing and cross-cultural development have occurred. For instance, the German Army developed a highly organized method of classifying marches following a decree by King Friedrich Wilhelm II on February 10, 1817. This decree, intended to assist army regiments in selecting good military music, led to the compilation of the Armeemarsch collection. The first collection in 1817 contained 36 slow and 36 quick marches, including works by Beethoven, Johann Heinrich Walch, and Anton Dorfeldt, many of which originated from a comparable Russian collection.
In Spain, marches fall into three categories: the marcia (the Spanish equivalent of a military march, often performed with heavy percussion and bugling parts), the marcia de concierto and processional (concert marches, with the former being bright and the latter stately and grand), and the pasodoble (originally written for dancing but adopted for bullfighting and later by Spanish military bands). British marches, in contrast, reflect a dignified, unhurried state of affairs and are played at conservative tempi.
Despite its rich history, the popularity of the march has dwindled in recent years. A few dozen very popular marches are often overplayed, while many others have fallen by the wayside except for occasional revivals. This neglect is ironic, given that the band itself, which gave birth to the march, is partly responsible for this decline. The march was the original music for bands; bands developed the march, and the march developed the band. The common march, used by performers in practically all music media, is clearly the heritage of the band, yet it often receives relative neglect from many bandmasters and music educators.
The Jarrow Crusade: A Historical Protest March
While musical marches have a long tradition, the term also describes a significant historical event: the Jarrow Crusade, also known as the Jarrow March. This event took place in England from October 5 to October 31, 1936.
Jarrow is a town on the River Tyne in northern England, located a few miles east of Newcastle-upon-Tyne. It was the starting point for this protest march, which saw approximately 200 people journey on foot for 280 miles to London. The protestors were Jarrow residents profoundly impacted by the closure of Palmer’s Shipyard two years prior. Many of those laid off had been unable to find work, leading to widespread poverty in the town. The marchers carried a petition calling for the British government to create an alternative source of employment for their community.
Upon reaching London, the petition was received by Parliament. However, the matter was not formally debated, and the marchers returned to Jarrow disheartened by what they perceived as a failure. Despite this immediate outcome, the Jarrow Crusade was instrumental in highlighting the need for social reform and paved the way for future initiatives aimed at addressing unemployment and poverty. The event's significance is commemorated by a memorial statue called the Spirit of Jarrow, unveiled in Jarrow’s town center to mark the 65th anniversary of the march. Today, a museum and memorial dedicated to 12-year-old Hector Pieterson, whose death became emblematic of a different struggle in Soweto, serves as a reminder of tragic events and social movements, drawing a parallel to the enduring impact of protests like the Jarrow Crusade.
Conclusion
The term "march" encompasses a dual legacy: a foundational musical form with a history spanning over three millennia and a specific historical protest that underscored the power of collective action. Musically, the march evolved from primitive military signals to a complex and varied genre integral to ceremony, pageantry, and entertainment across cultures. Historically, the Jarrow Crusade stands as a poignant example of a march as a vehicle for social protest, demonstrating how organized, public action can bring attention to critical societal issues, even in the face of immediate political disappointment. Both interpretations of the "march" highlight its role in structuring movement—whether of troops, music, or people—making it a significant element of cultural and historical record.