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This treatise explores the history of the bandsemble and an experience of bandsembling through a public lecture recital. The first chapter, “Introduction,” defines the term “bandsemble” and provides historical context on the emergence of the bandsemble and the rhetoric used in contemporary music projects. Chapter 2, “The History,” argues that the bandsemble belongs to a strong tradition of experimentalism in United States chamber music, through highlighting influential composers and performance projects from the past three centuries. Chapter 3, “The Experience,” details the concept of bandsembling as modeled after musicologist Christopher Small’s theory of musicking. It then details the various elements of a bandsembling lecture recital and concludes with a thematic analysis of audience responses to four survey questions. Lastly, Chapter 4, “Conclusions,” contains my final thoughts on the future of the bandsemble and bandsembling.