not thought of as typically American music. Marches and the military band The origins of European and American march music can be traced to the military music of the Ottoman Empire. The martial purposes of the music was to regulate army movements in the field by signalling orders, and to keep time during marching and maneuvers. The extensive use of percussion, especially cymbals, was also for psychological effect as, early on, their use was unknown in Western Europe and had the capacity to frighten opponents. (Indeed, the subsequent adoption of such percussive instruments in European 'classical' music was by direct import from the Ottomans.) Europeans were first exposed to march music in the early 18th century, and interest continued to build into the 1800s when a vogue for Turkish marching bands swept through Europe. Pieces displaying the Turkish influence can be found in the works of Mozart, Haydn, and Beethoven, with a notable example being "Turkish March" by Beethoven (part of Op. 113: Overture and incidental music for Die Ruinen von Athen). It was apparently during the latter gunpowder age that military march music was developed for armies to support troop morale by marching with music playing, whether from the melody of a fife or the beat of a drum, or both. American march music developed during the American Revolution and earlier colonial conflicts, in which a fife and snare drum would play while troops marched to battle. Thus it is said that march music is a military music. The tradition of formed lines of soldiers marching into battle with music playing ended soon after the American Civil War in the mid 19th century; military bands continued to perform marches during ceremonial events, which spawned a new tradition of playing marches as a source of entertainment. Marches and the concert band During the late 19th and early 20th centuries, many U.S. towns, organizations, theaters, and even companies aspired to have their own band. These so-called community/concert bands performed at scheduled parades and concerts and played at impromptu events such as the popular gazebo concerts. Published marches were plentiful due to prolific American composers like John Philip Sousa, Karl L. King, and Henry Fillmore. Marches became a staple in the repertoire of these concert bands, explaining in part how the popularity of march music spread so rapidly across the country. Marches and the circus Marches were also popularized during this period