Percussion*performance*:**

Transcription

1 UniversityofAdelaide ElderConservatoriumofMusic FacultyofArts Percussion*performance*:** challenges*of*the*medium,*technique*and*repertoire* * by Ryszard*Jan*Pusz* * * Submittedinfulfilmentoftherequirements forthedegreeof Master*of*Philosophy* (*MPhil*)* * * Adelaide,April2016

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3 Table*of*Contents* * * * * * * *******Page* TableofContents* i Abstract iii Declaration iv Acknowledgements v ListofMusicExamples vi ListofPlates xiii ListofTables xv Introduction 1 1. Approach 1 2. BackgroundandContext 7 3. Earlycompositionsforpercussion 9 4. ReviewofSources:RepertoireandLiterature Chapter1ReTconceivingthePercussionMedium Membranophones MalletKeyboardInstruments Xylophone Marimba SteelDrums Chapter2EvolvingPercussionTechniques Playingaction Movement Sound Gracenotes Longsounds Notation Logistics Visualaesthetics Chapter3Solo:Concerto(pour(batterie(et(petit(orchestrebyDariusMilhaud Introduction Background:earlywritingforpercussion Milhaud sapproachtomusic Instruments Analysis TechniquesandInterpretations Movement Sound NotationandDiscrepanciesbetweenEditions Logisticsofperformance SignificanceandConclusion 183 i

4 4. Chapter4Chambermusic:(Sonata(for(Viola(and(PercussionbyPeterSculthorpe Introduction Background AustralianInfluencesandIntent Musicologicalperspectives InterpretationPerformanceChallenges Instrumentation PlayingAction Movement Sound NotationandDiscrepanciesbetweenEditions LogisticsandStaging Conclusion Chapter5PercussionEnsembleinAustralia Introduction Background:earlywritingforpercussionensemble EricBryceSuite(for(Percussion(Quintet( ( ( ( ( (( PerformanceChallenges DavidMorganLossfor(Percussion(Quartet( ( ( ( ( ((274( PerformanceChallenges Logisticsandvisualaesthetics Legacy Conclusion 323 Conclusion 325 ListofSources 337 Books 337 Articles 340 Dissertations 343 Scores 345 Discography 351 Websites 352 Workshops 355 PerformanceBiography 357 AppendixA:APerformanceinacountrytown 374 AppendixB:Videosshowing: diversityofsomeaccessoryandlittleknowninstrumentstriangles, shakers,scrapers,woodblocksandclapsticks 2. clapsticksforuseinsculthorpe,sonata(for(viola(and(percussion 3. toydrumsinmorgan,loss AppendixC:Recordingsofperformancesof: PeterSculthorpe,Sonata(for(Viola(and(Percussion( 2. EricBryce,Suite(for(Percussion(Quintet( 3. DavidMorgan,Lossfor(Percussion(Quartet AppendixD:Selectedpagesofscoresof: 377( DariusMilhaud,Concerto(pour(batterie(et(petit(orchestre( ( ( (378 PeterSculthorpe,Sonata(for(Viola(and(Percussion( ( ( ( (391( EricBryce,Suite(for(Percussion(Quintet( ( ( ( ( (406 DavidMorgan,Lossfor(Percussion(Quartet( ( ( ( ( (411 ii

5 Abstract* ThisdissertationforthedegreeofMasterofPhilosophyattheElder ConservatoriumofMusic,UniversityofAdelaide,examinesthechallengesto percussionperformancepresentedbythemedium,techniquesandrepertoireina changingenvironment.theimportation,developmentandadaptationof percussioninstruments,thedevelopmentoftechniquesintraditionalandnew contextsandcomposers searchesfornewsoundstoexpressavarietyofmusical andtheatricalideascoalescedoverthecourseofthetwentiethcenturytoprovide thebasisforthesechangesandchallenges.thisstudyanalysestheintert relationshipsbetweeneachoftheseelementsandconsequentchangesasthey affectperformance. PercussionperformanceoverthecourseofthetwentiethcenturyintheArtMusic worldwaselevatedfromasubsidiary,backtoftstageproviderofrhythmand volumetoacentretstagepresentationofperformancesinitsownright.this changewasbothquantitativeandqualitative,whichintheprocess,createdanew genre.byexaminingtheissuesrelatedtothischangethestudyaimstoprovidean understandingoftheelementsoftheinstruments,thetechniquesandrepertoire tobearesourceforfutureanalyses,compositionsandperformances. Thestudy,byinvestigatingaselectionofrepresentativeinstrumentsandmajor techniques,examinessignificantdevelopmentsinthemediumandplaying techniquesandtherelationshipsthatexistbetweenthemandtherepertoireand investigatesthechallengestheseelementspresentforperformance.thestudy drawsmainlyonfoursignificantworks,themilhaudconcerto(pour(batterie(et( petit(orchestre,sculthorpesonata(for(viola(and(percussion,brycesuite(for( Percussion(Quintet(andMorganLoss(for(Percussion(Quartet,(threeofwhichI performedinclosecollaborationwiththecomposersandanalysestheminthe contextofmusicalintentandthechallengestheypresenttoperformance. Furthermorethestudydrawsconclusionsonthechallengestheseelements presentforacohesiveperformance. iii

6 Declaration* Icertifythatthisworkcontainsnomaterialwhichhasbeenacceptedforthe awardofanyotherdegreeordiplomainmyname,inanyuniversityorother tertiaryinstitutionand,tothebestofmyknowledgeandbelief,containsno materialpreviouslypublishedorwrittenbyanotherperson,exceptwheredue referencehasbeenmadeinthetext.inaddition,icertifythatnopartofthiswork will,inthefuture,beusedinasubmissioninmyname,oranyotherdegreeor diplomainanyuniversityorothertertiaryinstitutionwithoutthepriorapproval oftheuniversityofadelaideandwhereapplicable,anypartnerinstitution responsibleforthejointtawardofthisdegree. IgiveconsenttothiscopyofmythesiswhendepositedintheUniversityLibrary, beingmadeavailableforloanandphotocopying,subjecttotheprovisionsofthe CopyrightAct1968. Theauthoracknowledgesthatcopyrightofpublishedworkscontainedwithinthis thesisresideswiththecopyrightholder(s)ofthoseworks.ialsogivepermission forthedigitalversionofmythesistobemadeavailableontheweb,viathe University sdigitalresearchrepository,thelibrarysearchandalsothroughweb searchengines,unlesspermissionhasbeengrantedbytheuniversitytorestrict accessforaperiodoftime. iv

7 Acknowledgements FirstlyIacknowledgemysupervisor,ProfessorCharlesBodmanRae,forhis invaluableinsights,probingandprovocativequestionsthatchallenged,inspired andguidedmythinking.hisencouragementwhenneededwasappreciated.his depthofmusicalknowledgeandthefocusedsessionsofuptofourhoursduration intwolanguageshavebeenmentallyinvigorating.fortheseandthewilling assistance,unstintinglygiven,iamverygrateful. IalsowishtothankAssociateProfessorKimiCoaldrakeforguidingmethrough thecatacombsofacademicprocesses.theextraassistance,whenneeded,the attentiontofinedetailandtheprovisionofdirectionareallmuchappreciated. Thisdissertationisbasedonalongandextensivelifeofmusicmakingwithmany musicians,fromwhomihavelearnedmuchaboutmusicandperformance.these artistsinclude:myteachers,richardsmithattheelderconservatoriumand ProfessorGeorgeGaberofIndianaUniversity;composers,PeterSculthorpe,Eric Bryce,DavidMorgan,TristramCary,FelixWerder,WilliamKraft,BozidarKosand RalphMiddenway;conductors,NicholasBraithwaiteandVerdonWilliams; instrumentalists,dennisjohnson,petercobb,donknispel,barryquinn,michael Askill,RayHorne,DonCrooke,KarolSzymanowski(jazzvibist),Stanisław Skoczyński,JacekWota,NormanWeinberg,RonKeezer,RichardHornungand PatriciaPollett;andpercussioninstrumentmakers,BernhardKolberg,Neil GroverandRemoBelli. ThankyouspeciallyalsotoAnnKraehenbuhlforheropinions,adviceandvery tangiblesupport.ialsothankmyfellowresearchstudentswhothroughtheir researchareasanddiscussionsbroadenedmyownhorizons.iamalsogratefulfor theassistanceprovidedbytheelderconservatorium,facultyofartsand AdelaideGraduateCentreincludingCallyGuerinforherworkshopsandLucy Thomsonforherseminars. FinallyIthanktheAustraliaCouncil,ArtsSouthAustralia,thePhonographic PerformanceCompanyofAustralia,TechnicalandFurtherEducationDepartment andthehelpmannacademywithoutwhosefinancialassistancemanyofthe commissionsandperformancesofmylifewouldnothavebeenpossible. v

8 Music*Examples* Chapter*One:*ReHconceiving*the*Percussion*Medium* Example* Detail* Page* 1.01 Kraft,Suite(for(Percussion,(Fanfare,(bongos,snaredrums,field,drum, 26 tenordrum,bassdrump MahlerSymphony(No.(6,Movement1,p.3ruteonbassdrum Stravinsky,(Danse(Sacrale,timpaniIexcerpt(stemsdown) CharlesWhite,playinginstructions,Stravinsky,(Danse(Sacrale, 35 timpanii 1.05 Milhaud,Les(Choéphores(Présages( climax StravinskyL histoire(du(soldatnotationofpercussionacrossa 40 numberofstavesforthedifferentinstruments 1.07** CamilleSaintTSaënsDanse(Macabre,xylophoneexcerpt KodályHáry(János(Suite,extractofCimbalompart NeilCurrie,Sonata(for(Percussion,2 nd mvt,usingsteeldrumin 61 percussionensemble Chapter*Two:*Evolving*Percussion*Techniques* Example* Detail* Page* 2.01 Chavez,Toccata(para(instrumentos(de(percusiónTimpaniexcerpt MovementoverabigrangeonMarimba,ErdmannTAbele,Waiting( 81 for (,mvt Playingattheextremitiesoftheinstrument,ErdmannTAbele, 81 Waiting(for,mvt CoordinationinmultiTpercussion,DavidMorganAngelus(bars67T Coordinatingmovementovertwodifferentplanes,Andre 83 Oosterbaan,Time(of(Light,(manuscript,(p Theatricalmovement,GHGreen,Log(Cabin(Blues,(bars53T LanguidmovementPujol/PuszVariaciones(sobre(un(tema(de( 84 Atahualpa(Yupanqui,(arr.Marimba,(p Dramaticmovement,Cary,Black,(White(and(Rose,manuscript,p Pieceforconcertormarchingsnaredrum,excerptfromMoorejuNO, 85 p Differentsoundsonsnaredrum,RPuszAfter(M,bars41T Differenttimpanisounds,JohnBergamo,Perpetual(Motion,p.2( Differenttimpanisounds,R.Pusz,GD,p.2.The x designatesrim TraditionalBongoTechnique Bongosplayedwithsnaredrumsticks,Kraft,Suite(for(Percussion,(p Differenttechniquesontimpani,WilliamKraft,Images,(p Differentbeatersandstickings,JohnBeckConcerto(for(Timpani(with( 91 Percussion(Ensemble,solopart,p OriginalmarkingsinthescoreLloydSticks,(p Usingtimpaniasanechochamber,AleksanderPuszPolemic,p Bowingonmarimba,Cary,Black,(White(and(Rose,(p Bowingandbendingnotesonxylophone,BryceSuite(for(Percussion, 93 p UsingafingerTscrapingtechniqueonsnaredrum,R.Pusz,an (if?, 94 bars14t Representationaluseoftimpani,MorganLoss,p vi

9 Example* Detail* Page* 2.23 Flamsplayedinalternating,Rudimentalstyle Flamsplayedinostinatostyle Dragsshowingstickingsforbouncedandalternatedexecution Differentstickingsof 4Tstrokeruffs Singleanddoublegracenotesondifferentpartsofthedrum,R.Pusz 96 After(M,p Afewexamplesofgracenotestickingstoemphasisenuances DoubleTstrokerollnotationandapplication MultipleTbouncerollnotation OneThandedtremolo,Bryce,Concerto(for(Marimba(and(Vibraphone,( 100 bars101t OneThandtremoloMorganLachy s(lullaby,bars43t OneThandedtremolo,CaryBlack,(White(and(Rose,(manuscript(p OneThandedtremolo,CaryBlack,(White(and(Rose,(manuscript(p OneThandedtremolo,LlewellynSong(Ball,(bars49T UsingoneThandedtremolo,Hovhaness,Fantasy(on(Japanese( 102 Woodprints,(p BeckyLlewellyn,Song(Web, beatless tremolo,bars1t Fingertechniqueonsnaredrum onethandrollandrhythmsr.pusz, 103 an(if?,bars33t StickTbounce roll,wbenson,fandango,(bars(33[35( Conventionalstaffnotation,writingforhomogenoussounds Conventionalstaffnotationwithinstructions,DesportesThème(et( 106 Variations,(bars184T Conventionalnotationswithvariations,WitoldRudziński,Variations( 107 and(fugue,variation(iv,( bars 90T Conventionalnotationswithvariations,WitoldRudziński,Variations( 107 and(fugue,variation(vi, bars 138T Conventionalnotationswithvariations,WitoldRudziński,Theme,( 108 bars8t Amendedbeamsandaddedstickingshowing(myown)different 108 interpretivepossibilities fromwitoldrudziński,variations(and( Fugue 2.46 Graphicnotation,StockhausenZyklus,startingthepageonTomT 110 tomsandbells 2.47 Graphicnotation,StockhausenZyklus,startingthesamepageon 110 TomTtoms,SnareDrumandVibraphone 2.48 Graphicnotationandmovement,StockhausenZyklus,excerpt, 111 nominal(p Notationwithlegend,symbols,instructions,WilliamKraft, 112 SarabandefromEnglish(Suite,(bars53T Tremolorollnotation Traditional,rudimentalrollnotation 114 Chapter*Three:*Solo*Concerto(pour(batterie(et(petit(orchestre*by*Darius*Milhaud* Example* Detail* Page* 3.01 Combiningsounds,MilhaudConcerto,bars22and Voiceanduntunedpercussioninopera,Milhaud,mvtIV,Présages, 128 bars6t Rudeetdramatique,MilhaudConcerto,(bars8T vii

10 Example* Detail* Page* 3.04 Atmospheric,MilhaudConcerto,bars92T Openingphrase,orchestra,MilhaudConcerto,bars1T Openingphrase,solo,MilhaudConcerto,bars5T Interplaybetweenthesoloistandorchestra,MilhaudConcerto,bars T Interplaybetweenthesoloistandorchestra,MilhaudConcerto,bars T Dialoguebetweenclarinetandsolo,MilhaudConcerto,bars20T RhythmicinterplayTclarinetandstrings,MilhaudConcerto,bars26T EndoffirstsectionMilhaudConcerto,bars29T Juxtapositionofmotifsindifferentinstrumentalcombinations, 149 MilhaudConcerto,bars34T Juxtapositionofrhythmicpatterns,MilhaudConcerto,bars64T :3:2rhythmicpatternMilhaudConcerto,solopart,bars64T Variationofthemaintheme,MilhaudConcerto,bars73T Endof Rudeetdramatique section,milhaudconcerto,bars79t Opening Atmospheric ModérésectionMilhaudConcerto,bars81T Soloentry,MilhaudConcerto,bars92T Sixteenthnotemotifs,MilhaudConcerto,bars113T Insistenttimpanipattern,MilhaudConcertobars134T Explosionofsoundwithwhip,MilhaudConcerto,bars143T Ending,bars,MilhaudConcerto163T Originaltimpanifigure,MilhaudConcerto,bar Amendedtimpanifigure,MilhaudConcerto(Pianoreduction),bar Movementacrossthreetypesofinstruments,MilhaudConcerto,bars 160 8T Movementacrossinstrumentsatpianovolume,MilhaudConcerto, 161 bars22t Movementandchanginginstruments,MilhaudConcertobars44T Movementandchanginginstruments,MilhaudConcertobars141T * 3.29 Weightsofstrokeacrossdifferentinstruments,MilhaudConcerto, 165 bars20t Readingfivestaves,MilhaudConcerto,bars22T Violinpartmissinginreduction,MilhaudConcerto,bar Missingclarinetpartinreduction,MilhaudConcerto,bars34T Doublebasspartmissinginreduction,MilhaudConcerto,bar Brasspartsmissinginreduction,MilhaudConcerto,bars43T Originaltimpanifigure,MilhaudConcerto,bar Amendedtimpanifigure,MilhaudConcerto(Pianoreduction),bar Timpaniparterasedinreduction,MilhaudConcerto,bar Chapter*Four:*Chamber*music:(Sonata(for(Viola(and(Percussion*by*Sculthorpe* Example* Detail* Page* 4.01 Harrison,First(Concerto(for(Flute(and(Percussion,flute,mvt Harrison,First(Concerto(for(Flute(and(Percussion,percussionmvt Cage,Forever(and(Sunsmellexcerpt,bars24T Colgrass,Variations(for(Four(Drums(and(Viola,(VariationII,bars45T viii

11 Example* Detail* Page* 4.05a QuasiTMahlerianmelody,Sculthorpe,Sonata(for(Cello(Alone,bars43T b QuasiTMahlerianmelody,Sculthorpe(Sonata(for(Viola(and(Percussion( 197 bars49t a Rapidlyrepeatedrhythmicfigure,Sonata(for(Cello(Alonebars53T b Rapidlyrepeatedrhythmicfigure,Sonata(for(Viola(and(Percussion( 197 bars61t a MartialTlikemotive,Sonata(for(Cello(Alonebars79T b MartialTlikemotive,SculthorpeSonata(for(Viola(and(Percussion(bars T a Percussivesounds,Sonata(for(Cello(Alone,bars79T b PercussivesoundsextendedSculthorpe,Sonata(for(Viola(and( 200 Percussion,bars87T Percussionansweringviola,SculthorpeSonata(for(Viola(and( 202 Percussionbars87T Exampleofpercussionprovidingrhythmictextureandtimbral 203 colour,sculthorpesonata(for(viola(and(percussionbars49t Completemusicalfigure,SculthorpeSonata(for(Viola(and(Percussion 203 bars89t a Originalinstrumentation(claves),SculthorpeSonata(bars67T b Amendedinstrumentation(sticks),SculthorpeSonatabars68T Openingfigure,SculthorpeSonata,(bars1T Openingphrase,SculthorpeSonatabars1T SculthorpeSonatabars7T12,wherestickingneedstobedecided Playingsamefigureasabovebutwithsoftsticks,SculthorpeSonata 213 bars21t Conveying timelessness,througharmmovements,sculthorpe 213 Sonata,(bars7T GracenoteswithsoftsticksandrhythmicflowSculthorpeSonata,( 214 bars21t FortebongoanddiminuendotomTtom,SculthorpeSonata,(bars5T Cymbalsandtriangleentries,SculthorpeSonata(for(Viola(and( 216 Percussion,bars14T16and37T Movementincymbalsandtriangleentries,SculthorpeSonata(for( 217 Viola(and(Percussionbars14T a TamTtamroll(excerpt)Sculthorpe(Sonata,bars244T b Chinacymbalroll(excerpt),SculthorpeSonata,bars71T c BassDrumroll(excerpt),Sculthorpe(Sonata,bars44T48, d BassDrumroll(excerpt),Sculthorpe(Sonata,bars188T Exampleofrudimentalrollnotation Sculthorpe srollnotationsoncymbals,tamttamanddrums, 220 SculthorpeSonata,(pp.4,6,9,18, ForteFuneralMarch,SculthorpeSonata,(bars211T Deliberate articulation,snaredrum,sculthorpesonata,(bars87t Changingbeaterstoclapsticks,SculthorpeSonata,(bars55T Beatersandclapsticks,SculthorpeSonata,(bars69T Beatersandclapsticks,SculthorpeSonata,(bars80T Movementofbeaters,SculthorpeSonata,(bars12T Movementofbeaters,SculthorpeSonata,(bars32T Notationofrollsinmanuscriptandprintededition,Sculthorpe Sonatafigure8 230 ix

12 Example* Detail* Page* 4.33 Notationaldifferencesplayingonrimandsticks,Sonatafigure a Notationof32ndnotes,SculthorpeSonata,figure24T1979edition b Notationof32ndnotes,SculthorpeSonata,figure24, manuscript 4.35 Notationaldifferenceininstrumentbetweenmanuscriptandprinted 232 edition,sculthorpesonata,figure Notatedfreedomofinterpretation,SculthorpeSonatascore,figure ,printededition 4.37 Notatedfreedomofinterpretation,SculthorpeSonatascorehandT 232 writtenscorewithamendments,p Sculthorpe,Sonata,(edited(percussionpart Sculthorpe,Sonata,(edited(percussionpart Sculthorpe,Sonata,(edited(percussionpart Readingprintedscore,SculthorpeSonata,(1960edition,(bars66T Readingoriginalscore,SculthorpeSonata,(originalmanuscript,(bars T Readingeditedpart,SculthorpeSonata,percussionpartbars64T Chapter*Five:*Percussion*Ensemble*in*Australia* Example* Detail* Page* 5.01 Grainger,Eastern(Intermezzo,manuscript, Milhaud,Les(Choéphores,Presages,climax,p ShostakovichThe(Nose,(Entracte,(bars66T SuspendedCymbalpartinItalian,ShostakovichThe(Nose,(Entracte,( 251 figure ClashcymbalspartinItalianandRussian,ShostakovichThe(Nose,( 251 Entracte,(figure AmadeoRoldán,Ritmica(No.(5,bars1T EdgardVarèseIonisation,bars1T Windchimes,bowedcymbalandvibraphone,BrycePrelude,bars1T Bowingandbendingnotesonxylophone,BrycePrelude,bars20T Derabucca,BrycePrelude,bars42T Vibraphone,BrycePrelude,bars4T Openingmelodyonvibraphone,BrycePrelude,bars5T Mixofsoundswithtubophone,vibraphone1,vibraphone2,bowed 260 xylophone,triangle,bryceprelude,bars21t , Improvisedsection,BrycePrelude,bars50T Varietyofsoundsfromwoodenidiophones,BryceGames,bars7T Varietyofsoundsfromwoodenidiophones,BryceGames,bars14T Secondsubject,BryceGames,bars61T Tubophone,Bryce,Prelude,bars25T Derabucca,BrycePrelude,(bar Derabucca,BrycePrelude,(bar Derabucca,BrycePrelude,(bar Derabucca,BrycePrelude,(bar Guirostroke,BryceGames,bar Opening3 rd mvt,brycepranks,bars1t Opening,MorganBattery,bars1T x

13 Example* Detail* Page* 5.26 Snaredrummartialmotif,MorganBatterybars22T Cupgongs,mf,MorganBattery,bars30T Glockenspiel,pMorganBattery,bars35T62, TamTtam,snaredrum,cupgongs,glockenspiel,MorganBattery,bars T pppsnaredrum,morganbattery,bars64t Marimbaentry,MorganBattery,bars70T Shatteringofillusions,MorganBattery,bars74T Martialmotifatfastertempo,MorganBattery,bars102T Buildupoftension,MorganBattery,bars126T Momentofdeath(bar149),MorganBattery,bars145T Reiterationoftunedmotifsoversnaredrum,timeafterdeath, 278 MorganBattery,bars145T OpeningMorganFuneral(Musicbars1T Juxtapositionoftimesignatures,MorganFuneral(musicfiguresD&E Emotionalturmoil,MorganFuneral(musicfiguresFandG Metalbeatersonvibraphone,MorganFuneral(musicfigureH Wellingupofemotion,MorganFuneral(musictimpani(bottom 283 stave),figurei 5.42 Expressionsofgrief,MorganFuneral(musicfiguresMTO OpeningMorganRequiembars1T Judgementandcondemnationonbassdrum,MorganRequiembars T ClimaxofjudgementandDies(Irae,MorganRequiembars32T Ascendingscalepassages,MorganRequiem,bars36T Descendingscalepassages,Morgan(Requiem,bars51T Dies(Belli DayofBattle,MorganRequiembars77T AcclaimingthegloryoftheGreatKingandcomingofeternalLight, 289 MorganRequiembars151T Emotionalturmoil,MorganCloud(Cuckoo(Land,bars16T Cacophonyofmadness,MorganCloud(Cuckoo(Land,bars27T Morecraziness,oncasioandtoydrum,MorganCloud(Cuckoo(Land, 292 bars41t Closingbars,MorganCloud(Cuckoo(Land,bars60T OpeningofMorganFons(Amoris,bars1T ffinterjectionandscream,morganfons(amoris,bars107t forteinterjection,morganfons(amoris,bars144t fffinterjection(morgan(fons(amoris,bars159t Briefchangeofmood,MorganFons(Amoris,bars247T Endofpiece,MorganFons(Amoris,bars296T Tubophone,MorganFons(Amoris,bars225T Whistlesandderisivenoises,MorganCloud(Cuckoo(Land,bar25T Coordinatingvoiceandinstrument,MorganCloud(Cuckoo(Land,bar T Chanting,MorganRequiem,bars165T Parallelmotioninsevenths,MorganRequiem,bars52T Changinginstrumentsasedited,betweenxylophone,glockenspiel, 303 andsnare/bassdrum,morganfuneral(music,figuresetoi 5.66 Sharinginstruments,editedpart,MorganFuneral(Music,figuresFTH Changingbeaters,editedtenordrum/3tomTtoms/bassdrum, timpanipart,morganfuneral(music,figuresfth 305 xi

14 Example* Detail* Page* 5.68 Vibraphonewithmetalbeaters,MorganFuneral(Music,figureH Changingbeaters,glockenspieltovibraphone,MorganFuneral( 306 Music,figureI 5.70 Juxtaposedtimesignatures,MorganFuneral(Music,figuresDTE vibraphoneentrypoints,morganfuneral(music,figured Playingglockenspielandsnaredrum,MorganBattery,bars61T Playingglockenspielandwoodblocks,MorganBattery,(bars161T Playingglockenspielandbassdrums,MorganBattery,(bars113T Directionforplayers1and2tosharebassdrum,Morgan,Funeral( 312 Music,figureC 5.76 Coordinatingbowandmallet,Morgan,Fun(and(Games,bars109T Coordinatinghandandfootplayinggracenotes,MorganFun(and( 315 Games,(bars113T /8Timesignaturedividedinto ,MorganFun(and( 315 Games,(bars34T Coordinatingwindchimes,cymbal,snaredrum,pedalbassdrum 316 andvibraphone,morgan,voyage(into(solitude,bars15t Fastchangesofbeatersandinstruments,Morgan,Concerto(for( 317 Percussion,Cadenza,p.9a 5.81 Opening,thirdmovementBryce,Jazz(Suite,( Richard s(rag ),bars1t OneThandedtremolo,Bryce,Concerto(for(marimba(and(vibraphone,( 319 bars101t Optionofimprovisation,Bryce,Uncle(Bill,bars34T xii

15 List*of*Plates* Chapter*One*ReHconceiving*the*Percussion*Medium* Plate* Detail* Page* 1.01 Bongos,tuneableusingaspanner,ontiltablestand ChinesetomTtom,concerttoms,twoTheadedtom KolbergpedalTomTtom Markedtuningsonmetalshelldrums(Kolberg) TunedBooTbams(Kolberg) Tangobassdrum8 x26 (frominternet) Bassdrumbeaterselection Exampleofplankofwoodusing(dowel)beaters(Peinkoferand 39 Tannigel) 1.09 Exampleofhammer(PeinkoferandTannigel) FourTrowxylophonefromtheplayer sperspective OriginalfourTrowxylophonemalletsandearlytypesofmalletsfor 49 keyboardxylophone 1.12 Selectionofmalletsinuseinthemiddleofthetwentiethcentury Deagansteelmarimbaphonewithkeysenabledforbowing Examplesofcontemporarywoundmarimbaandxylophonemallets Relativethicknessesandlengthsofearlyandcontemporarymallet 54 handles 1.16 ExamplesofdifferenttypesofmalletsT cluster, slap,snaredrum 54 stickwithmetalandfeltends 1.17 Songbells Tubophone Vibraphone3.5octaves(Vanderplas) OnenoteofanAngklung Gambangwithchromaticallyarrangedinonerow BooTbams(Kolberg) PVCPipeInstrument(frominternet) Cimbalominfolkensemble,Hungary(frominternet) SteeldrumsnotelayoutTTenorSteelpans(Vistapan) SteeldrumsnotelayoutTDoubletenorpans(Vistapan) SteeldrumsnotelayoutTDoublesecondsF#3TC#6(Vistapan) SteeldrumsnotelayoutTDoublesecondsE3TEb6(Vistapan) SteeldrumsnotelayoutTDoublesecondsF#3 C#6(Panyard) SteeldrumsnotelayoutTDoublesecondsF3TC6(Panyard) Kolbergtambourineshowingthemethodofmounting,jinglesand 66 methodofplayingalong,uninterruptedthumbroll 1.32 Cowbellwithrounded(yellow)plasticstrip(LP) 67 Chapter*Two*Evolving*Percussion*Techniques* Plate* Detail* Page* 2.01 TraditionalSnareDrumgrip MatchedGrip Wristaction Legendofstickingsandplacementonsnaredrum,R.Pusz,After(M Kraft,Images,legendofstickingandplacement Scrapingtechniqueonsnaredrumlegend,R.Pusz,an (if?, Legendofstickings,DavidGeorgeChoose(Your(Own(Adventure 99 xiii

16 Plate* Detail* Page* 2.08 Diagramsofbrushplayinginstructions,DavidGeorgeChoose(Your(Own( 99 Adventure 2.09 Comparisonofmalletsizes.Mallet(a)isforLlewellyn spiece;(b)is 103 Balter smushroomhead Playinginstructionslegend,R.Pusz,Continuity Diagramandpictogramlegend(fragment),Stockhausen,Zyklus Layoutdiagram,Stockhausen,Zyklus Legend,WilliamKraft,SarabandefromEnglish(Suite PlayinginstructionsKraftSarabande 113 Chapter*Three*Solo*Concerto(pour(batterie(et(petit(orchestre*by*Darius*Milhaud* Plate* Detail* Page* 3.01 NotationlegendMilhaud,Concerto,(pianoreductionscore a Setupdiagram,MilhaudConcerto b Playinginstructions,MilhaudConcerto RotoTtoms,Kolbergcatalogue,2007,p DoubleTendedmalletsassuggestedfortheMilhaudConcerto a BassDrum/detachableCymbalintypicaldrumsetusedinthetheatre b BassDrum/detachableCymbalbeaterdetail Alternativemethodofplayingthebassdrum/cymbalandalternative 169 sounds 3.07 InstrumentlegendMilhaud(Concerto,Pianoreduction Templeblocksonstand,andgeneralpercussionstand,Kolberg 181 catalogue ExampleofadifferentnotationalarrangementforMilhaud,Concerto 182 Chapter*Four*Chamber*music:(Sonata(for(Viola(and(Percussion*by*Sculthorpe* Plate* Detail* Page* 4.01 LegenddevisedbyPusz,SculthorpeSonata(for(Viola(and(Percussion Claveinholder(Kolberg) PiccoloWoodblock(Kolberg) PiccoloWoodblocks(SteveWeiss) SnareDrumstickvarieties(Kolberg) a PercussionInstrumentation,1960manuscriptSculthorpeSonata b PercussionInstrumentation,1979edition,Sculthorpe,Sonata SetupwithoutthesecondBassDrum,SculthorpeSonata AlternativesetTup,Sculthorpe,Sonata Legend(amended),SculthorpeSonata 239 Chapter*Five*Percussion*Ensemble*in*Australia* Plate* Detail* Page* 5.01 Deaganmetalmarimba ExampleofPercyGrainger'sInstrumentationandcurrentequivalents InformationonIonisation(asarrangedforsixplayersby(Les( 256 Percussions(de(Strasbourg 5.04 Tubophone AnglesofRefractionwhenplayingoncurvedsurfaces Changingattitudetowritingforpercussion,Morgan,Fun(and(Games, titlepage 313 xiv

17 List*of*Tables* Chapter*One*ReHconceiving*the*Percussion*Medium* Table* Detail* Page* 1.01 ComparisonofdifferenttypesoftomTtoms Typesofsnaredrumsaccordingtocontextofuse Sizesofvarioustypesofbassdrum RangesoforiginalkeyboardstylemarimbasmadeintheUSAby 46 Deagan 1.05 SizesandtuningsofpreT1922Deaganxylophonesinauthor s 47 collection 1.06 SizesandpitchesofDeagansteelmarimbaphones,withresonators SizesandpitchesofDeaganWoodmarimbaphones 52 Chapter*Three*Solo*Concerto(pour(batterie(et(petit(orchestre*by*Darius*Milhaud* Table* Detail* Page* 3.01 SoundsandrangesofthepercussioninstrumentsintheMilhaud 135 Concerto 3.02 GenresfromwhichthepercussioninstrumentschosenforMilhaud s 136 Concerto 3.03 LegendofinstrumentgroupingsinMilhaud sconcerto a SummaryoftheactioninMilhaud sconcerto,(rude(et(dramatique b SummaryoftheactioninMilhaud sconcerto,(modéré Milhaud suseofbeatersonthevariousinstrumentsintheconcerto Discrepanciesbetweeneditions(orchestralpart) a DiscrepanciesbetweeneditionsinthesolopartRude(et(dramatique b DiscrepanciesbetweeneditionsinthesolopartModéré 175 Chapter*Four*Chamber*music:(Sonata(for(Viola(and(Percussion*by*Sculthorpe* Table* Detail* Page* 4.01 ComparisonsofinstrumentsbetweenSculthorpeSonataand 206 StravinskyL histoire( 4.02 Discrepanciesbetweeneditions 229 ( Chapter*Five*Percussion*Ensemble*in*Australia Table* Detail* Page* 5.01 Tablesoforiginalandeditedinstrumentallocationmvt1inLoss Tablesoforiginalandeditedinstrumentallocationmvt2inLoss Tablesoforiginalandeditedinstrumentallocationmvt3inLoss Tablesoforiginalandeditedinstrumentallocationmvt4inLoss Tablesoforiginalandeditedinstrumentallocationmvt5inLoss TableoftotalinstrumentallocationforeachplayerinLoss 310 xv