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50 Years of PAS, Chapter 1: the First Decade

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50 Years of PAS, Chapter 1: the First Decade 50 Years of PAS Chapter 1: The First Decade By Rick Mattingly “We are living in the Golden Age of Percussion,” wrote PAS Executive Sec- retary Neal Fluegel in 1970. “Historically, percussion instruments represent the old- est instrumental family, but they have been the last to approach having their potential sounds fully realized. They are no longer in the background of musical development, but in the center of musical activity. The ‘Golden Age of Percussion’ has arrived.” PERCUSSIVE NOTES 6 JANUARY 2011 t that point, the PAS could cer- participated in many of those meetings and tainly be credited with contrib- discussions. “Remo Belli was always asking, uting to percussion’s enhanced ‘Isn’t there a possibility we could have an or- status. Although only ten years ganization through which we could discuss ev- old, the society had already erything involved in our craft: how to teach it, Amade gains in raising standards for percus- how to play, and so on?’ Frank Arsenault was sion education and evaluation, and through its also very involved, because he was traveling to publications had created a valuable resource all those events for the Ludwig Drum Compa- of scholarly research devoted to the percussive ny, and he would always make sure there was arts. a place we could meet. We also had educators Most importantly, it had brought people at every level wanting an organization in which together who shared a common devotion to they could discuss their craft.” all things percussion—be they performers, Sewery wasn’t at the December 1960 teachers, students, composers, publishers, Midwest Clinic in Chicago, but afterward he or manufacturers. Through PAS they could received a call from Belli, who told him that ev- share ideas and concerns, inspire each other, eryone had been charged to think of a name for learn from each other, and support each other. the proposed organization, and they would dis- Longtime Remo executive Lloyd McCausland’s cuss it at the January 1961 Southwest-MENC favorite adage is “a rising tide raises all ships.” convention in Albuquerque, New Mexico. At PAS has been the tide that has lifted percussion that meeting, Sewrey suggested the name Per- and percussionists for half a century, and as the cussive Arts Society, which was unanimously society celebrates its “golden” anniversary, it approved. Following this meeting, Robert is appropriate to look back at a time that was Winslow, a professional percussionist and regarded as the “Golden Age of Percussion” North Hollywood band director who served and the people whose dreams and visions have as an educational advisor to Belli, sent a letter The first issue ofPercussionist become realities. proclaiming: “The Percussive Arts Society is When fourteen percussionists and educators open for business,” and in September 1961, met for dinner at the 1960 Midwest Band and the society sent its first publication, Percussive PAS journal, Percussionist, appeared. Canedy Orchestra Clinic in Chicago, their goal was Arts Society Bulletin, printed on a mimeograph was listed as Executive Secretary and Editor, simply to discuss the possibility of establish- machine donated by Belli, to the membership. Neal Fluegel was listed as Corresponding ing a national organization that would “bring The fourteen originating members listed in the Secretary and Assistant Editor, and the Con- up to date the present standards in solo and first Percussive Arts Society Bulletin were Remo tributing Editors were Henry Adler (Dance ensemble contests, stimulate a greater interest Belli, Warren Benson, Mervin Britton, Robert Drumming), Mervin Britton (New Materials), in percussion performance and teaching, and Buggert, Don Canedy, Rey Longyear, Charles Vida Chenoweth (Keyboard Mallet Instru- promote better teaching of percussion instru- Lutz, Jack McKenzie, James L. Moore, Verne ments), and James D. Salmon (Percussion ments.” That meeting is credited today with Reimer, Jim Salmon, Hugh W. Soebbing, Education). planting the first seeds of what would become Charles Spohn, and Robert Winslow. Canedy recalls getting the first issue of the Percussive Arts Society. After three Bulletins, the administrative and Percussionist, which he refers to as the “little “There had been a lot of discussions at publication duties of the society were trans- red book,” out to the members. “In the fall of Midwest and various MENC state conven- ferred to Donald Canedy, percussion instructor 1962 I called Remo Belli and said I needed tions—anyplace percussionists and band direc- and band director at Southern Illinois Univer- four timpani heads and some other stuff. Two tors were gathering,” recalls Jim Sewery, who sity. In May of 1963, the first issue of the new weeks later I got a package from Remo, and on top of the contents was an envelope with my name on it. Inside was a check for $140 and a note from Remo that said, ‘Do whatever you can whenever you can.” We had been talking about PAS for months and had many hopes and dreams, so I knew what he intend- ed for me to do and I did it. “I asked all my percussion students to give any help they could, and they all paid dues and became PAS members. I called everyone I knew and asked for whatever help they might give in creating an official quarterly publica- tion of the Percussive Arts Society. I asked the SIU printing department for help, and they agreed to print the first PAS journal free of charge. I contacted everyone I had met who was excited about percussion, teaching, manu- facturing, retail, publishing, etc. I asked Tom Davis and Vida Chenoweth to write articles. I asked every question I could think of about starting a quarterly journal, and I spent time Pictured above are several of the fourteen founding members of the Society. (left to right, near side in the college library looking at professional of table) Remo Belli, Jack McKenzie, Don Canedy, Mervin Britton, (left to right, far side of table) Hugh journals of all kinds. I spoke on the phone Soebbing, Vern Reamer and Sid Lutz, and Kenneth Leisen. PERCUSSIVE NOTES 7 JANUARY 2011 our readers with a rather large collection of criteria for adjudication of percussion solos and projects suggested to us by members of PAS ensembles; make available those requirements as a result of our original request for ideas and most commonly accepted by colleges and concepts. The list is large because of the tre- universities in terms of entrance and general mendous response from the members. It is not placement; through collective need, encourage the list that is the challenge but the problems composers to write for percussion in the area involved in implementing any one of the pro- between elementary rudimental solos to ad- posed projects, establishing a priority list, and vanced-grade experimental ensembles. carrying them out collectively.” Had the founders of PAS intentionally set That list provides a valuable snapshot of out to create a 50-year plan for the fledgling so- the state of percussion in the early 1960s. The ciety, they could hardly have done a better job projects were grouped into several sections, considering how many of these goals have been starting with projects that “would be valuable accomplished and/or continue to be pursued. to teachers, performers, and administrators.” The first issue of Percussionist also included Those topics included: a recommended list of a letter from Chicago Symphony Orchestra qualified judges for festivals and contests along percussionist Al Payson, who wrote: “It is very with the establishment of criteria for qualifying difficult for an individual to influence a large judges; recommended clinicians for percussion mass of people. One voice is lost in the multi- clinics; lists of resources about percussion and tude. That is why individuals with a common percussionists; a list of recommended acces- purpose group together and shout in unison: sories, traps, and special equipment prioritized they are bound to be heard and will probably by order of purchase for high school band have some influence on those who hear them. I directors; sources for purchase or rental of per- would hope that the Percussive Arts Society is cussion instruments. such a group. It has very lofty aims, and people Don Canedy Another section dealt with research and in- who subscribe to these aims and who want to cluded: study the ramification of required tra- implement them presumably join PAS to work with as many percussion professionals as I ditional rudiments at school contests in order with the other members in this direction. An could reach. to determine the desirability of revamping the organization can exist and be healthy only if all “I started the process in September of requirements to more logically enhance the ob- the members actively participate in a common 1962 with Remo’s check, and gave birth to jectives of music education; make recommen- purpose.” Volume I, Number 1 of Percussionist in May dations to manufacturers concerning quality Payson also shared his thoughts on state 1963. My children Kysa and Todd inserted the instruments, accessories, and educational mate- contests: “There is too much emphasis on the volumes into envelopes with the addresses of rials designed to meet the requirements the members, and as a family we took them to of percussionists; encourage secondary the university post office and mailed them. All and college level administrators to give business activities were through accounts at the more careful consideration to a well bal- university, and there was all kinds of support anced percussion education program at from the top brass. Work had already begun on all levels. Bring to the fore the inadequa- the next issue, and more and more help was be- cies of a music program, teacher training ing offered from all quarters of the PAS.
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