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Ice Dissertation REVISED UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PERCUSSION QUARTET: A CHRONOLOGICAL LISTING AND PERFORMANCE GUIDE OF SIX SELECTED WORKS A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By STEFAN PATRICK ICE Norman, Oklahoma 2012 THE PERCUSSION QUARTET: A CHRONOLOGICAL LISTING AND PERFORMANCE GUIDE OF SIX SELECTED WORKS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY _____________________________ Dr. Irvin Wagner, Chair _____________________________ Dr. Lance Drege _____________________________ Dr. William Wakefield _____________________________ Dr. Roland Barrett _____________________________ Dr. Grady Wray © Copyright by STEFAN PATRICK ICE 2012 All Rights Reserved. Acknowledgements For Gavin, my brilliant and inspiring son. For Mom and Dad, your constant love and support have meant more to me than I can ever express. For my friends and colleagues, your support and encouragement through my academic career have meant so much to me. I could not have achieved this accomplishment without any of you. Table of Contents Abstract ............................................................................................................... viii Chapter 1 Introduction ......................................................................................................... 1 Statement of the Problem .................................................................................... 4 Need for the Study ............................................................................................... 6 Purpose of the Study ............................................................................................ 7 Limitations of Study ............................................................................................ 7 Design of the Study ............................................................................................. 8 Literature Review ................................................................................................ 9 Chapter 2 Chronological List of Percussion Quartet Compositions .................................. 19 Chapter 3 Works Examined ............................................................................................... 44 Vespertine Formations ...................................................................................... 45 Omphalo Centric Lecture: For Percussion Quartet ........................................... 51 The Doomsday Machine: For Percussion Quartet ............................................ 57 Ku-Ka-Ilimoku: for Percussion Ensemble ........................................................ 64 Threads: For Percussion Quartet ....................................................................... 72 Ritual Music: Variations on the Numbers 2 and 4 (for Percussion Quartet) .... 92 Chapter 4 Summary ........................................................................................................... 98 Conclusions ..................................................................................................... 102 Bibliography Books ............................................................................................................... 104 Electronic Media ............................................................................................. 104 Journal Articles ................................................................................................ 106 Dissertations and Thesis .................................................................................. 107 Musical Scores ................................................................................................ 108 Appendix A ......................................................................................................... 109 Appendix B .......................................................................................................... 110 Appendix C .......................................................................................................... 196 v List of Tables Table 1-1. Numbers of works composed for varying sized percussion ensembles from Siwe Guide to Solo and Percussion Ensemble Literature. .............................. 5 Table 2-1. Percussion Quartet Compositions with Non-pitched Instrumentation .. 19 Table 2-2. Percussion Quartet Compositions with Mixed Instrumentation ........... 31 Table 2-3. Percussion Quartet Compositions with Pitched Instrumentation .......... 39 Table 3-1. Instrumentation for Vespertine Formations .......................................... 45 Table 3-2. Instrumentation for Omphalo Centric Lecture. .................................... 52 Table 3-3. Instrumentation for The Doomsday Machine ....................................... 58 Table 3-4. Instrumentation for Ku-Ka-Ilimoku. ..................................................... 65 Table 3-5. Stick Indications for Ku-Ka-Ilimoku. .................................................... 65 Table 3-6. Instrumentation for Threads. ................................................................ 73 Table 3-7. Instrumentation for Ritual Music. ......................................................... 92 vi List of Figures Figure 3-1. Deane: Vespertine Formations, mm. 1-3. ........................................... 47 Figure 3-2. Deane: Vespertine Formations, mm. 133. .......................................... 48 Figure 3-3. Deane: Vespertine Formation mallet construction instructions. ........ 49 Figure 3-4. Westlake: Omphalo Centric Lecture, mm. 155-157. .......................... 54 Figure 3-5. Westlake: Omphalo Centric Lecture, mm. 195-197. ......................... 55 Figure 3-6. Westlake: Omphalo Centric Lecture, mm. 205-206. ......................... 55 Figure 3-7. Burritt: The Doomsday Machine, mm. 1 – 2. ..................................... 59 Figure 3-8. Burritt: The Doomsday Machine, mm. 3-5. ........................................ 60 Figure 3-9. Burritt: The Doomsday Machine, mm. 18. ......................................... 61 Figure 3-10. Burritt: The Doomsday Machine, mm. 134-135. .............................. 62 Figure 3-11. Rouse: Ku-Ka-Ilimoku, mm. 93. ....................................................... 68 Figure 3-12. Rouse: Ku-Ka-Ilimoku, mm. 104-105. ............................................. 69 Figure 3-13. Lansky: Threads, Mvt. 1, mm. 1-3. .................................................. 74 Figure 3-14. Lansky: Threads, Mvt. 2, mm. 8-10. ................................................ 76 Figure 3-15. Lansky: Threads, Mvt. 3, mm 1-5. ................................................... 77 Figure 3-16. Lansky: Threads, Mvt. 3, mm. 16-17, player three. ......................... 78 Figure 3-17. Lansky: Threads, Mvt. 3, mm. 35. ................................................... 79 Figure 3-18. Lansky: Threads, Mvt. 8, mm. 1-4, player two. ............................... 83 Figure 3-19. Lansky: Threads, Mvt. 8, mm. 15. ................................................... 84 Figure 3-20. Lansky: Threads, Mvt. 8, mm. 23-24. .............................................. 84 Figure 3-21. Lansky: Threads, Mvt. 8, mm. 52-54. .............................................. 85 Figure 3-22. Lansky: Threads, Mvt. 9, mm. 90. ................................................... 87 Figure 3-23. Lansky: Threads, Mvt. 10, mm. 8-9. ................................................ 89 Figure 3-24. Lansky: Threads, Mvt. 10, mm. 85-86. ............................................ 90 Figure 3-25. Skidmore: Ritual Music, mm. 32-33. ............................................... 94 Figure 3-26. Skidmore: Ritual Music, mm. 49-50. ............................................... 94 vii Abstract Percussion quartets are the most abundant compositions in the genre of percussion ensemble. This study presents a chronological list of 651 compositions for percussion quartet and a performance guide of six selected works. The performance guide includes examinations of Vespertine Formations by Christopher Deane (2003), Ku-Ka-Ilimoku by Christopher Rouse (1981), Ritual Music: Variations on the Numbers 2 and 4 by David Skidmore (2005), The Doomsday Machine by Michael Burritt (1990), Threads by Paul Lansky (2008), and Omphalo Centric Lecture by Nigel Westlake (1984). These six works represent the top selling contemporary percussion quartets in 2011, two works in each instrumental grouping: pitched instrumentation, non-pitched instrumentation, and mixed instrumentation. viii Chapter 1 Introduction The percussion ensemble was established as a genre of western chamber music in the early 20th century. Throughout its century of existence, percussion ensemble works have been created for a wide variety of groups differing in size, instrumentation and musical style. Edgard Varèse’s Ionisation, one of the first recognized percussion ensemble works, was considered experimental in its use of unique percussion instruments. Varése’s composition concerns itself primarily with musical textures rather than traditional tonality or form. Early works by John Cage and Lou Harrison also used contemporary musical techniques centered on rhythmical and texture ideas. Works by Varèse, Cage and Harrison, along with early 20th century marimba bands,1 paved the way for the modern large percussion ensembles and percussion orchestras including seven or more players, while the works of Cage and Harrison widely influenced the chamber percussion works including six or fewer players. To date, there have been no established means for separating
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