DEPARTMENT OF MUSIC PERCUSSION STUDIES HANDBOOK

Transcription

1 UNIVERSITY OF SASKATCHEWAN DEPARTMENT OF MUSIC PERCUSSION STUDIES HANDBOOK PERCUSSION INSTRUCTOR DARRELL BUECKERT

2 CONTENTS PURPOSE...3 INTRODUCTION...3 GRADING POLICIES...5 STUDIES IN PERCUSSION...6 ENTRANCE REQUIREMENTS...6 APPLIED PERCUSSION MUAP 143/ MUAP 243/ MUAP 343/ MUAP 443/ PERCUSSION MASTER CLASS...15 PERCUSSION ENSEMBLE...16 PRACTICE ROOMS AND KEYS...17 PERCUSSION EQUIPMENT...18 PERSONAL EQUIPMENT NEEDS LEVEL LEVEL...20 SUGGESTED READINGS...21 LISTENING LIST...22

3 PURPOSE This Percussion Studies Handbook is intended to provide students and prospective students with the following information: 1. Requirements for entrance into percussion studies at the University of Saskatchewan. 2. An outline of the program for percussion studies and the requirements for successful completion of each year of the program. 3. Policies and procedures of the University of Saskatchewan regarding percussion equipment and facilities. This Handbook should be considered a companion document to the University Calendar and the Department of Music Student Handbook. Policies and procedures, or changes to policies and procedures stated in the Calendar or Student Handbook that conflict with those stated herein are to be taken as authoritative. Any inquiries, regarding this document or studies in percussion at the U of S, should be directed to: Darrell Bueckert, Percussion Instructor Department of Music, University of Saskatchewan 28 Campus Drive, Saskatoon, SK S7N 0X1, Canada Phone (306) INTRODUCTION Studies in percussion at the University of Saskatchewan are intended to provide the student with a comprehensive and thorough background in percussion. It is expected that each student will develop a high level of proficiency in all areas of percussion performance and a strong foundation in educational concepts and strategies. The curriculum reflects this commitment to the development of a well-rounded percussionist. Opportunities at the University provide for experience in performance of solo and ensemble literature of a wide variety of styles and areas of percussion. Solo recitals are a requirement of all degree programs in 2nd, 3rd and 4th year. Students are also strongly encouraged to perform a first year recital. As well, a variety of ensembles perform regularly throughout the year. There often exist additional opportunities for students to gain experience in percussion education through clinics and workshops that may occur on or off campus. Students are advised to take advantage of such opportunities.

4 Through academic study, musical preparation and involvement in a variety of performance settings, the student should, over the course of the program, develop a high level of: a/ responsibility as reflected in regular attendance at all lessons, classes and rehearsals, and by conscientious preparation of all literature, both solo and ensemble. b/ professionalism including a mature attitude toward all musical styles, a commitment to the maintenance and care of the instruments, and a respect for the position of the conductor and fellow musicians. c/ musical sensitivity to form, style, phrasing, and rhythmic, melodic, and harmonic structures. d/ technical skill as demonstrated by performance of selected studies, solo and ensemble literature. This should include observation and demonstration of dynamic control, articulation, rhythmic accuracy, accuracy in pitch, and technical finesse. e/ organizational skill including the ability to prepare and assign ensemble parts and the ability to design and implement instrument set-ups for solo and ensemble performance. f/ ability to read at sight. g/ aural skills including rhythmic, melodic, and harmonic relationships h/ understandings with regards to: 1/ the instruments, their history, construction, mechanical functions, technical and musical possibilities, and concepts of tone production. 2/ historical and stylistic aspects of the literature. 3/ educational principles and methods.

5 GRADING POLICIES Grades for Applied Percussion are determined as a combination of the Jury/Recital mark and the instructor's grade, as outlined in the Department of Music Student Handbook. The instructor's grade will be determined by (1) regular attendance at Applied Percussion lessons, Master Classes and Ensembles - 20%; (2) consistency and growth - 40%; (3) technical progress - 40%. Assignments It is expected that students will come to lessons prepared, having completed all assignments to a satisfactory level. The assignment for each lesson will be recorded on an Applied Percussion Record form which will be kept in the instructor's file. Students are welcome to view the file at their convenience. Log Books Students are encouraged to keep a personal log of their assignments in a ringed steno pad. For each assignment, students should set down a plan for successfully completing it, indicating what is required each day to meet their goal. The log should also contain personal critiques on pieces being worked on, instrument set-ups, information about works and composers researched, and a record of the time and nature of work done in the practice room. In this way students will become more actively involved in their own development and more responsible for their own success.

6 STUDIES IN PERCUSSION ENTRANCE REQUIREMENTS Students may be admitted into the Department of Music as a percussion major by audition before a jury comprised of members of the music faculty. The candidate must demonstrate proficiency in at least one of the following areas of performance and a level of basic performance skills in at least one other area. The ability to perform well in several or all of the areas listed is very desirable. KEYBOARD - Demonstrate (1) a basic understanding and ability to play major and minor scales and arpeggios; (2) musical and technical command of intermediate level solo literature such as found in Modern School for Xylophone (Goldenberg), The Solo Marimbist vol. 1 & 2 (Pimentel/Moore), Masterpieces for Marimba (McMillan); (3) functional ability with at least one multiple mallet grip. TIMPANI - Demonstrate (1) good command of the mechanical functions of the timpani; (2) a good understanding of intervals and scales and the ability to hear, sing and tune them on the timpani; (3) performance of intermediate level solo literature such as found in The Solo Timpanist (Firth), Modern Method for Tympani (Goodman), Musical Studies for the Intermediate Timpanist (Whaley), Fundamental Method for Timpani (Peters). GENERAL PERCUSSION - Demonstrate (1) strong rudimental background (40 international rudiments and solos by Wilcoxon, Markovich, etc.), and/or concert style snare drum performance (solos by Cirone, Payson, Lepak, Goldenberg, Whaley, Delecluse, etc.); (2) good command of accessory instruments in concepts of tone production and technical proficiency. Be able to perform on bass drum, cymbals, triangle, tambourine, Latin percussion and other accessory percussion instruments. DRUM SET - Demonstrate (1) an understanding of drum set performance in a variety of musical styles including jazz, rock and Latin; (2) an ability to play time as well as improvise appropriate solos and fills for each style type; (3) A thorough knowledge of music fundamentals, including the ability to read a drum chart.

7 APPLIED PERCUSSION - 6 CREDIT COURSES The following provides a basic outline to the course content for each year of the program for applied percussion study. Materials listed are only examples of typical literature for that level but actual material covered may vary for each student depending on individual strengths. It is expected that the student will, at a minimum, develop skills in each area of percussion performance to a level represented by the materials listed for each of the instruments. MUAP 143/145 Timpani Goodman, Modern Method for Tympani (Belwin) Peters, Fundamental Method for Timpani (Alfred) Whaley, Fundamental Studies for Timpani (Meredith) Beck, Alpine Slide Frock, Seven Solo Dances Goodman, Ballad For The Dance Goodman, Introduction & Allegro Peters, Primal Mood Philodor, March For Two Pairs of Kettledrums Keyboard Percussion Payson, Elementary Marimba & Xylophone Method (Payson) Firth, Mallet Technique (Carl Fischer) Pimentel, Bar Percussion Notebook vol. 1 & 2 (Permus) Goldenberg, Modern School for Xylophone (Chappell) Grover, Four Mallet Primer Irvin, Syncopated Waltz Kabalevsky/Goldenberg, Comedians Gallop Khachaturian/Goldenberg, Sabre Dance Peters, Teardrops for Marimba Quartier, Image

8 MUAP 143/ continued Snare Drum Stone, Stick Control (George B. Stone & Son) Delecluse, Methode de Caisse-Claire (Alphonse Leduc) Goldenberg, Modern School for Snare Drum (Chappell) Wilcoxon, The All-American Drummer (Ludwig) McCormick, Solo Suite for Snare Drum Payson, Snare Drum Solo #1 Schinstine, Futuristic Drum Solos Sewrey, Contrasts General Percussion Payson, Techniques of Playing Bass Drum, Cymbals and Accessories (Payson) Delp, Multi-Pitch Rhythm Studies for Drums (Berklee Press) Gaetano, Multiple Episode #1 Kraft, Two Drums in the Shape of an Etude Payson, Slavic Dance Peters, Rondo Drum Set Appice, Realistic Rock (Carmine Appice) Pickering, The Drummer's Cookbook (Mel Bay) Chapin, Advanced Techniques for the Modern Drummer (Jim Chapin)

9 MUAP 243/245 Timpani Goodman, Modern Method for Tympani (Belwin Mills) Firth, The Solo Timpanist (Carl Fischer) Whaley, Musical Studies for the Intermediate Timpanist (Meredith) Friese/Lepak, Friese-Lepak Timpani Method (Belwin) Firth, Solo Impression for Four Timpani Jones, Sonata Mancini, Suite for Timpani Tcherepnin, Sonatina Keyboard Percussion Green, Studies and Etudes for Xylophone (Heinrichshofen) McMillan, Masterpieces for Marimba (Belwin) Moyer, Four Mallet Method for Marimba (Studio 4) Goldenberg, Modern School for Xylophone (Chappell) Bona, Rhythmical Articulation (Schirmer) Whaley, Four Mallet Exercises (Meredith) Huesgen, Trilogy Peters, Yellow After the Rain Pimental/Moore, The Solo Marimbist Vol. 2 Pitfield, Sonata for Xylophone Ptaszynska, Scherzo for Xylophone and Piano Tanner, Sonata for Marimba

10 MUAP 243/ continued Snare Drum Delecluse, Methode de Caisse-Claire (Alphonse Leduc) Wilcoxon, Modern Rudimental Swing Solos (Ludwig) Whaley, Recital Solos for Snare Drum (Meredith) Benson, Three Dances Colgrass, Six Unaccompanied Solos for Snare Drum Delecluse, Douze Etudes McCormick, Aggressively General Percussion Price, Techniques and Exercises for Playing Triangle, Tambourine and Castanets (Music for Percussion) Goldenberg, Studies in Solo Percussion (Chappell) Peters/Black, Cymbals: A Crash Course (Alfred) Becker, Lahara D'Angelo, Toccata for Solo Percussionist Kraft, French Suite, Morris Dance Payson, Die Zwitschermaschine Drum Set Chester, The New Breed (Modern Drummer) Dowd, A Funky Primer (Alfred)

11 MUAP 343/345 Timpani Abel, 20th Century Orchestra Studies for Timpani (Schirmer) Begun, Twenty-One Etudes for Timpani Hinger, Technique for the Virtuoso Tympanist (Jerona) Beck, Sonata for Timpani Bergamo, Four Pieces for Timpani Cahn, Raga #1 Lepak, 32 Solos for Timpani Keyboard Percussion Friedman, Vibraphone Technique (Berklee Press) Stevens, Method of Movement for Marimba (Keyboard Percussion Publications) Abe, Frogs Gibson, Wallflower, Snowbird, Carillon Green, selected rags Hovhaness, Fantasy on Japanese Woodprints Stout, Etudes Book 2, Astral Dance

12 MUAP 345/ continued Snare Drum Albright, Contemporary Studies for the Snare Drum (Belwin) Payson, The Snare Drum in the Concert Hall (Payson) Zivkovic, Ten Etudes for Snare Drum (Studio 4) Adams, Variation Sans Theme Gauthreaux, Technica 9 Markovich, Tornado / Stamina General Percussion Denov, The Art of Cymbal Playing (Belwin) Udow/Watts, The Contemporary Percussionist (Meredith) Cahn, Nara Dupin, Myriads Kraft, English Suite Milhaud, Concerto for Percussion Tagawa, Inspirations Diabolique Drum Set Houghton, Studio & Big Band Drumming (C.L.Barnhouse) Latham, Advanced Funk Studies (Pustjens)

13 MUAP 443/445 Timpani Hinger, Technique for the Virtuoso Tympanist (Jerona) Goldenberg, assorted excerpt books Carter, Eight Pieces for Timpani Helble, Three Etudes for Five Timpani Hinger, Solos for the Virtuoso Timpanist Mardingly, Sonata for Solo Timpani Williams, Variations for Solo Kettledrums Keyboard Percussion Stevens, Method of Movement for Marimba (Keyboard Percussion Publications) Delecluse, Vingt Etudes pour Xylophone (Alphonse Leduc) Abe, Michi Basta, Concerto for Marimba and Piano Creston, Concertino for Marimba Deponte, Concertino for Marimba Green, Valse Brillante Kurka, Concerto for Marimba and Orchestra Miki, Time Milhaud, Concerto for Marimba and Vibraphone Stout, Two Mexican Dances Tanaka, Two Movements for Marimba

14 MUAP 443/ continued Snare Drum Cirone, Portraits in Rhythm Lepak, 50 Contemporary Snare Drum Etudes (Windsor Music) Stone, Accents and Rebounds (George B. Stone & Son) Gauthreaux, American Suite Kettle, Four Solos for Snare Drum General Percussion Abel, 20th Century Orchestra Studies for Percussion (Schirmer) Brun, Stalks & Trees & Drops & Clouds Dahl, Duettino Concertante Feldman, The King of Denmark Kraft, Images, Encounters 3 or 4 Stockhausen, #9 Zyklus Stravinsky, Histoire du Soldat Xenakis, Rebonds Drum Set Malabe/Weiner, Afro-Cuban Rhythms for the Drum Set (DC) Garibaldi, Future Sounds (Alfred) Houghton/Warrington, Essential Styles (Alfred)

15 PERCUSSION MASTER CLASS Percussion majors are required to attend Percussion Master Class. The purpose of the Master Class is to provide a forum for (1) critical appraisals of performance by peers (2) group instruction on various instruments towards developing a common approach (3) sharing of information and ideas on a broad range of topics including instrument maintenance, repair and construction (4) developing an understanding of the history of percussion and its literature (5) development of an understanding of educational principles and practices. Each student will be required to perform or present a mini-seminar at least once each semester. Performers should be prepared to discuss technical and musical aspects of the piece they perform and be knowledgeable about the composer and the compositional style. Informal and/or formal (written) critiques of performances and presentations may be required.

16 PERCUSSION ENSEMBLE Percussion Ensemble is an auditioned performing ensemble open to any university student. A wide variety of musical styles are explored, ranging from classical transcriptions to contemporary compositions for percussion ensemble, as well as music from other countries and cultures. The instruments used represent a wide range of traditional orchestral percussion instruments as well as Latin American instruments, the complete range of keyboard percussion and an assortment of special oddities. Members of the ensemble are encouraged to (1) develop reading ability and performing skills, (2) gain a greater understanding of the literature for percussion ensemble and the use of the percussion instruments, (3) recognize the educational possibilities of such an ensemble, (4) develop a high level of ensemble skills. While the ensemble is comprised primarily of percussion majors, other students with percussion background or significant musical experience may also find the ensemble enjoyable and worthwhile. It is expected that every percussion major will endeavour to include this ensemble as part of each year's program of study. Percussion Ensemble meets for one 2-hour rehearsal every week, at a time to be determined by the Music Department pending the availability of Quance Theatre. Two concerts are performed each year, typically one in early December and one in early April. As well the ensemble will at times travel to various venues in the city for performances and/or workshops. While the ensemble is intended to be enjoyable and have a relaxed atmosphere, it is expected that each member will take responsibility for coming to rehearsals well prepared and arriving in plenty of time to have instruments set up before rehearsal begins. Regular attendance at every rehearsal is expected.

17 PRACTICE ROOMS AND KEYS KEYS Each percussion major enrolled in the Music Department is granted practice room privileges upon payment of the key deposit fee. Fees and keys are handled through the music office. All keys must be returned at the end of each academic year or final grades will be withheld by the Music Department. Percussion Techniques students may have access to the percussion modules by arranging for a key from the Music Department Office. Other students requiring access must have written permission of the percussion instructor and approval of the Music Department. Any student using the percussion modules and percussion equipment is expected to comply with all policies. PERCUSSION MODULES Percussion modules are located in the lower level practice hall in the Education Building. Rooms are equipped as follows: Module #3 : DRUMSET Module #4 : VIBRAPHONE & XYLOPHONE Module #5 : TIMPANI Module #6 : MULTI-PERCUSSION Module #7 : MARIMBA, PIANO ACCOMPANIMENT Etc. Each percussion major will be allowed to sign up for reserved practice times after personal schedules have been set. Students are encouraged to make use of these times since competition for the rooms can become frustrating. Rooms that are not booked are on a first come first served basis. If a room is vacant ten minutes into a reserved time slot, any student may make use of that room. These rooms are intended for practice only and it is expected that students will use them responsibly. Instruments should be covered appropriately when finished, lights turned off, and the door locked. Food and drink are NOT allowed in the modules. Use the modules for practicing, not for homework or visiting. Personal equipment such as sticks, mallets and music are to be stored in lockers. Failure to comply with these policies may result in loss of key privileges.

18 PERCUSSION EQUIPMENT - MOVING AND STORAGE PROCEDURES STORAGE ROOMS AND CABINETS All percussion equipment is stored either in the practice modules below Quance Theatre or in the equipment storage room, backstage of Quance Theatre. Equipment taken from these locations to be used for practice or performance MUST be returned to these locations the same day, unless written permission for extension has been given by the percussion instructor. The storage room must be kept neat and orderly at all times, to facilitate efficient access to instruments and accessories. Learn where all the instruments belong and be consistent in returning them to their proper place. The storage cabinet must also be kept neat and orderly so that instruments and mallets are easily found. All felt mallets must be covered with plastic before being stored, and all triangles must have clips removed before returning to drawers. MOVING INSTRUMENTS All large equipment must be moved between floors of the Education Building by use of the elevator in the main hallway. Keyboard instruments should be lifted over the threshold of the module doors carefully. Some of the larger keyboard instruments must be disassembled to accommodate smaller doorways. Vibraphone and chime pedals should always be raised before moving the instrument to avoid damage. Timpani should NEVER be moved or lifted by the counter-hoop as this will destroy fine tuning and put undue strain on the instrument. Always handle by the braces or bowls. The largest of the timpani may need to tipped sideways and the wheels removed to accommodate smaller doorways. This is a job that requires at least two people and must be done VERY carefully so as not to touch the rim against the door jam. Avoid laying the timpani on its side to remove the wheels; have a third person remove them. Drum set bass drum pedals and mounted toms must be removed before moving the bass drum. NO instruments may be removed from the Education Building without written permission from the percussion instructor and approval of the Music Department.

19 PERSONAL EQUIPMENT NEEDS 100 LEVEL Each percussion major must equip himself or herself with some basic equipment for use in private study and conducted ensembles. The following is a list of the bare minimum that will be required. Any percussion major that is missing one or more of these items should endeavour to own them by the end of the first semester. Students involved in percussion ensemble who are not percussion majors may be asked to purchase a minimum of supplies. Sticks and Brushes: 1 pr. general snare drum sticks: 2B or Firth-general. 1 pr. light weight snare drum sticks for drum set. 1 pr. brushes. Keyboard mallets: 1 pr. soft rubber 1 pr. acrylic (hard plastic). 2 pr. medium yarn or cord wound for vibes and marimba. Timpani mallets: 1 pr. general. 1 pr. staccato. 1 pr. medium-heavy triangle beaters. 1 drum key 1 A-440 tuning fork. 1 small tool kit including; adjustable wrench, pliers, moleskin, scissors, screw drivers (5-in-1 set).

20 400 LEVEL The following is a list of equipment items that would complete the basic equipment needs of the performing percussionist. Every percussion major should endeavour to acquire these items over the course of studies at U of S. Furthermore, it is expected that students will purchase items needed as these needs arise so that borrowing equipment from each other is not necessary. Every percussionist is responsible for outfitting his or her own set-up, whether they be individual or ensemble situations. Snare Drum sticks: 1 pr. general snare drum sticks: 2B or Firth-general. 1 pr. light weight snare drum sticks for drum set. 1 pr. brushes. Keyboard mallets: 1 pr. each of rubber; hard and very hard 2 pr. acrylic (hard plastic) 1 pr. brass 4 yarn or cord wound soft 4 yarn or cord wound medium 4 yarn or cord wound hard Timpani mallets: 1 pr. general 1 pr. staccato 1 pr. ultra-staccato 1 pr. wood ball Triangle beaters (purchased or home-made); 1 pr. light 1 pr. medium 1 pr. heavy 1 drum key 1 timpani tuning key 1 A-440 tuning fork 1 small tool kit including; adjustable wrench, pliers, moleskin, scissors, screw drivers (5-in-1 set). Percussion majors studying at U of S are also encouraged to begin acquiring a greater variety of sticks and mallets as well as personal instruments including various drums, cymbals, tambourines, triangles, wood-blocks, and other accessories.

21 UNIVERSITY OF SASKATCHEWAN DEPARTMENT OF MUSIC APPLIED PERCUSSION -- SUGGESTED READINGS Abel, Alan. 20th Century Orchestra Studies for Percussion. MT T97 Bajzek, Dieter. Percussion: An Annotated Bibliography. ML 128.P23B34 Blades, James. Early Percussion Instruments. ML 1030.B62 Blades, James. Histoire du Soldat. M 1520.S91H5 Blades, James. Orchestral Percussion Technique. MT 665.B63 Blades, James. Percussion Instruments and their History. ML 1030.B63 Breithaupt, Robert. The Complete Percussionist. Brindle, Reginald Smith. Contemporary Percussion. ML 1030.B85 Brown, Robert. The Mrdanga. ML 1035.B88N9 Chenoweth, Vida. The Marimbas of Guatemala. Cirone, Anthony & Joe Sinai. The Logic of it All. Cook, Gary. Teaching Percussion. MT 655.C7 EDUC PROF. COLL. Firth, Vic. Percussion Symposium. ML 1030.F52 Gallwey. The Inner Game of Tennis. GV P75G34 Gangware, Edgar. The History and Use of Percussion Instruments in the Orchestra. ML 1030.G19 Holland, James. Percussion. ML 1030.H64 Jacob, Friedrich. La Percussion. ML 1030.J3414 Kaptain, Laurence. "The Wood That Sings:" The Marimba in Chiapas Mexico. Kulb, David. Percussion Crafts. Larrick, Geary. Annalytical & Bibliographical Writings in Percussion Music. MT 90.L34 Locke, David. Drum Gahu! MT 655.L6 Meza, Fernando. Percussion Discography. ML P4M5 Moore, James. Acoustics of Bar Percussion Instruments. ML 1030.M6 Payson, Al & McKenzie. Music Educator's Guide to Percussion. MT 655.P34M9 Payson, Al & McKenzie. Percussion in the School Music Program. Press, Arthur. Mallet Repair. ML 1031.P93M2 Reed, H. Owen & Joel Leach. Scoring for Percussion. MT 70.R32 Richards, Emil. World of Percussion. ML 1030.R52 Shivas, Andrew. The Art of Timpanist and Drummer. MT 665.S5 Sachs, Curt. The History of Musical Instruments. ML 460.S12 Tanner, Peter. Timpani & Percussion Writing in the Works of Hector Berlioz. ML 410.B51T16 Taylor, Henry W. The Art and Science of the Timpani. ML 1035.T23 Vela, David. Information on the Marimba. Vincent, David. A Percussionists Guide to Orchestral Excerpts. ML 128.P23V5 Percussion Anthology: A Compendium of Percussion Articles from the Instrumentalist. MT 655.P42 Percussive Notes. a bi-monthly publication of the Percussive Arts Society.

22 UNIVERSITY OF SASKATCHEWAN DEPARTMENT OF MUSIC APPLIED PERCUSSION -- LISTENING LIST PERCUSSION RECORDINGS IN THE U OF S EDUCATION BUILDING Attica LL 6415 The Blackearth Percussion Group LL 6059 Canons of Blackearth LL 6060 Changes (Nexus) LL 7191 Digital Percussion LL 6584 I Ching MCD 0734 Impact ( Beverly Johnson) MCD 0232 Light in Darkness (Evelyn Glennie) MCD 1130 Master Drummer From Ghana LL 7961 Music of Herbert Brun... LL Music of Nexus LL 7190 Percussion (Milhaud, Chavez, Bartok) LL 3735 Percussion By William Kraft LL 5568 Prison Song LL 6945 Selections MCD 0873 Shadowbox MCD 0231 Song of Quezalcoatle (Lou Harrison) LL 6061 Suites, Percussion LL 2701 Zyklus (Stockhausen) LL 6852 Amadinda Percussion Group MCD 1687 Chinese Drums and Gongs LL 7930 Concert Percussion for Orchestra LL 3693 Construction #2 (John Cage) LL 7304 Drumming (Steve Reich) MCD 0959 Ionization (Varese) MCD 1695 Kroumata Percussion Enseble MCD 0619 Kroumata and Manuela Wiesle MCD 0611 Music for Pieces of Wood (Reich) MCD 1737 Percussion (McGill Percussion Ensemble) LL 6030 Pleiades (Xenakis, Les Percussion Strasbourg) MCD 0763 Quartet Romantic (Henry Cowell) LL 5757 Sonic Boom LL 7756 Soundscape (Michael Rosen) LL 6739