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A Multifaceted Performance Model for the Multiple Percussion Performance Practice: Performance Analysis of Select Works Toward Developing a Graduate Curriculum

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A Multifaceted Performance Model for the Multiple Percussion Performance Practice: Performance Analysis of Select Works Toward Developing a Graduate Curriculum Graduate Theses, Dissertations, and Problem Reports 2020 A Multifaceted Performance Model for the Multiple Percussion Performance Practice: Performance Analysis of Select Works toward Developing a Graduate Curriculum Mitchell Joseph Greco West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Pedagogy Commons Recommended Citation Greco, Mitchell Joseph, "A Multifaceted Performance Model for the Multiple Percussion Performance Practice: Performance Analysis of Select Works toward Developing a Graduate Curriculum" (2020). Graduate Theses, Dissertations, and Problem Reports. 7564. https://researchrepository.wvu.edu/etd/7564 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Graduate Theses, Dissertations, and Problem Reports 2020 A Multifaceted Performance Model for the Multiple Percussion Performance Practice: Performance Analysis of Select Works toward Developing a Graduate Curriculum Mitchell Joseph Greco Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Pedagogy Commons A Multifaceted Performance Model for the Multiple Percussion Performance Practice: Performance Analysis of Select Works toward Developing a Graduate Curriculum Mitchell J. Greco Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Performance Michael Vercelli, DMA, Chair Mitchell Arnold, DM Yoav Kaddar, PhD Travis Stimeling, PhD George Willis, MM School of Music Morgantown, West Virginia 2020 Keywords: Multiple percussion, curriculum Copyright ©2020 by Mitchell J. Greco All rights reserved ABSTRACT A Multifaceted Performance Model for the Multiple Percussion Performance Practice: Performance Analysis of Select Works toward Developing a Graduate Curriculum Mitchell J. Greco The purpose of this document is to articulate the various dimensions of the solo multiple percussion performance practice, the primary objective being to construct appropriate graduate curricula. It was found that the necessary skills and concepts could be categorized into four dimensions that make up the multi-faceted model: (1) equipment and setup, (2) notational style, (3) technical demands, and (4) conceptual performance. Requisite skills were posited from performance analyses of over fifty solo works that range from intermediate to advanced difficulty. Representative works are described that might effectively introduce and challenge these requisite skills and concepts, as are exemplary pieces that require their mastery. One piece that I performed for recital within my doctoral program was selected for each dimension to provide experiential details: The Anvil Chorus is used to describe equipment and setup, Psappha for notational style and devices, Thirteen Drums for technical facility, and Tunnels for the performance concept. I conclude the document with sample program curricula suggested for master’s and doctoral level, as well as curricula specific to each dimension of the performance model. It is my hope that the percussion instructor will use this model to analyze their own inventory and to include future additions to the literature for creating an effective and comprehensive graduate multiple percussion curriculum. ACKNOWLEDGEMENTS This document could not have been completed without the assistance, guidance and support of many people. I would firstly like to thank my family for their constant support and encouragement. My fiancé, Caryn, deserves special attention as she continued to stand by my side as we traversed our doctoral programs together. I would like to thank my research advisor, Dr. Michael Vercelli, for his guidance throughout the research and writing of this document. I would like to thank the graduate committee members for their valuable contributions to my doctoral program as well: Prof. George Willis, Dr. Travis Stimeling, Dr. Mitchell Arnold and Dr. Yoav Kaddar. I would like to thank Prof. Paul Scea and Dr. Janet Robbins, who previously served on the committee before their retirements. A special thank you to Molly Reinhoudt, who painstakingly copyedited the document. I would like to thank all my prior teachers. Dr. Kay Stonefelt and Dr. Rob Falvo, who gave me a solid foundation in music and percussion while modeling how to be a good mentor and person. Dr. Kazadi wa Mukuna, Dr. Laurie Semmes and the late Dr. Halim El-Dabh, for encouraging my interest in scholarly inquiry while challenging – and ultimately expanding – my research and writing abilities. Last, but certainly not least, a special acknowledgement to the great Bernard Woma, whose spirit I attempt to summon every time I step in front of a crowd, with or without a musical instrument in hand. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii ACKNOWLEDGEMENTS ........................................................................................................... iii TABLE OF CONTENTS ............................................................................................................... iv LIST OF FIGURES ....................................................................................................................... vi CHAPTER 1: INTRODUCTION ....................................................................................................1 Statement of the Topic .........................................................................................................1 Review of the Literature ......................................................................................................4 Methodology ........................................................................................................................8 Limitations .........................................................................................................................11 CHAPTER 2: EQUIPMENT AND SETUP ..................................................................................15 Instrument Choice and Manipulation.................................................................................15 Found Instruments .............................................................................................................23 Instrument Construction.....................................................................................................25 Instrument Mounting .........................................................................................................26 Instrument Placement.........................................................................................................29 Setup Design ......................................................................................................................31 Indeterminate Instrumentation ...........................................................................................34 David Lang, The Anvil Chorus (1991) ...............................................................................36 CHAPTER 3: NOTATIONAL STYLE .........................................................................................50 Standard Notation ..............................................................................................................52 Timbre Staff Notation ........................................................................................................58 Line Staff Notation ............................................................................................................62 Real-time Symbols .............................................................................................................66 Graphic Notation ................................................................................................................69 Spatial Notation .................................................................................................................72 Text Notation .....................................................................................................................77 Iannis Xenakis, Psappha (1975) ........................................................................................80 iv CHAPTER 4: TECHNICAL DEMANDS .....................................................................................87 Dynamic Control ................................................................................................................87 Stroke Types ......................................................................................................................88 Multiple Stops ....................................................................................................................91 Coordination and Independence
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