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  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 firstPercussive 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  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 ofPercussionist 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. It was and conservatory, which gives only lip an exciting time and there was much joy in the service or solemn mockery to this essen- hearts of percussionists everywhere. To me it tial element. was like a great gift, a marvelous opportunity, Goals for the society itself were also and a huge challenge. I was so grateful to be listed: progress as a clearing house associated with so many wonderful people of for information about and for percus- percussion. I am thankful that I was asked to sion and percussionists; receive and do these things that had such great rewards for disseminate information, materials, so many, and humbled by so much support.” published and unpublished works, lists, In the debut issue of Percussionist, the goals specific questions about percussion of the Percussive Arts Society were listed as: from members and non-members, and To promote better teaching of percussion in- generally, through active participation of struments on all levels. To stimulate a greater members, advance the musical concepts interest in percussion performance and teach- where percussion is concerned by all ing. To establish standard criteria of adjudica- means educationally, economically, and tion for percussion performance contests in physically possible; advance concepts light of today’s demands on the percussion which seem most valuable in all areas player. To foster the composition and publica- of percussion—scholarly but practical tion of solo and ensemble music and teaching approaches; make recommendations of methods for the percussion instruments. To the best of study material as a result of coordinate the activities of the membership adequate research in terms of general with groups having similar objectives. Annual usage by membership and others; begin membership dues were $2.50. a file on programs to be made available Under the title “The Challenge,” Canedy as reference for members and others; wrote: “In trying to get this bulletin off to a make recommendations to state contest fine start it seemed appropriate to ‘challenge’ committees concerning more-standard Al Payson

percussive notes  JANUARY 2011 military concept of snare drum playing. The made now for an indication from the member- great majority of solo and ensemble entries ship as to your interest and willingness to serve play pieces of a military nature, and as a result, on committees for these two projects.” most students have a very limited concept of That issue also contained the constitution musical styles. This means that a student’s con- that had been adopted at the December 1964 test experience is not really functional, since Percussive Arts Society meeting in Chicago. present-day professional organizations seldom The society’s purpose was defined as being: To perform in that idiom.” raise the level of musical percussion perfor- By the second issue of Percussionist, the PAS mance and teaching; to expand understanding leadership had selected its first official project, of the demands, needs, and responsibilities of and the publication carried this announcement the percussion student, teacher, and performer; in “The Challenge”: to promote a greater communication and un- derstanding between all areas of the percussion It seems that one of the best ways to make im- profession; and to accomplish these purposes mediate progress towards raising the standards solely by educational means. of percussion performance is to undertake a The constitution also provided for formal project which effects at once the student and the leadership, stating that: The officers of the teacher in the public or private schools across Society shall consist of a President, Vice-Presi- the country. The contest and all its implications dent, Secretary-Treasurer, and thirteen Direc- are of considerable interest to every teacher of tors. These officers shall equally represent the instrumental music and, of course, the student following areas of the percussion arts: Profes- is an integral part of anything the teacher does sional; College Educational; High School, with contest. In the past, contest rules and regu- Grammar School Educational; Drum Corps; lations for percussionists have been more of a Dealer; Publisher; Manufacturer; Members at Gordon Peters limiting force than a motivating force. It would Large. All officers shall, by virtue of their of- be a great step forward if the Percussive Arts fice, be members of the Board of Directors. work for percussion section and orchestra and/ Society could make available a set of “Recom- The first official PAS officers were: or band. mended Requirements for Percussion Players.” President: Gordon Peters A subsequent issue of Percussionist, which To this end we invite our membership to accept Vice-President: Jack McKenzie combined issues 2 and 3 of Volume III, includ- “the challenge” and to contribute the best of Executive Secretary: Donald G. Canedy ed a “preliminary report” by the Committee on their knowledge and experience. The first members of the Board of Directors Improving Elementary Percussion Education, were Alan Adams, Frank Arsenault, Thomas chaired by Al Payson. The report contained A proposed list of standards was listed, as Brown, Richard Craft, Thomas Davis, Freder- a list of “problems” that had been identified, compiled by Gordon Peters. In the following ick Fennell, Neal Fluegel, Roy Knapp, Mau- some of which continue to this day: issue, Peters suggested appointing a committee rice Lishon, Larry McCormick, Al Payson, 1. There is little (but a growing) awareness, to oversee the establishment of contest guide- Richard Richardson, Robert Tilles, and Robert in music education, of percussion as a medium lines, and in the fourth issue it was announced Yeager. An editorial board was also established of musical expression. that Peters had accepted the chairmanship of for Percussionist, consisting of Donald Canedy 2. The caliber of percussion instruction is the Contest Rules and Adjudication Commit- (editor), and Al Payson and Alan Adams (as- generally low. tee—the first PAS committee to be established. sistant editors). 3. Many percussion teachers do not keep Early on, it was obvious that PAS was a for- The minutes from the meeting included abreast with modern techniques of education, ward-thinking organization that wasn’t afraid several projects that were being considered, particularly those developed by educational of controversy. As one example, the third issue including: evaluation of elementary percussion psychologists. of Percussionist contained an article by Jack education; an outlined curriculum for college 4. “Percussion” instruction in most cases is McKenzie advocating matched grip for snare percussion majors; list of masters and doctoral confined almost entirely to snare drum instruc- drum. “Jack was the first college professor I theses on percussion; PAS serving as a clear- tion. know of who encouraged students to switch to inghouse of solo and ensemble percussion pro- 5. Some school music educators make a matched grip,” recalls Al Payson. “So he was grams. practice of putting students with the lowest the one who took the heat from the traditional Two specific projects were to be set in mo- aptitude on “drums.” drummers. The N.A.R.D. ridiculed him. At tion immediately: 1. Dick Richardson was In May 1966, it was announced that Donald PASIC 2010 I was talking to Rick Kvisted, asked to arrange for a percussion program in Canedy had resigned as Executive Secretary who had been a student of McKenzie’s for his the name of PAS for the 1965 Mid-West Band to devote all his time to his new job as Edu- undergraduate work, and he told me that when Clinic. 2. Gordon Peters submitted a survey of cational Director of Rogers Drum Company, he applied to the master’s program at Juil- percussion instrument and accessory improve- and that Neal Fluegel would serve as interim liard, Saul Goodman told him that if he used ments to be included in the next Percussionist Executive Secretary. The official PAS address matched grip on snare drum during the audi- mailing. became Terre Haute, Indiana, where Fluegel tion, he would not be admitted. But Jack stood In addition, the following committees and lived. up to the pressure, and about 20 years later projects were approved: the college-university Minutes printed in that issue from a Board there was a big switch to matched grip.” percussion dept.—curriculum, equipment, of Directors meeting announced that, “The In the Vol. II, No. 1 issue of Percussionist, literature; stage band and show drumming; Chairman was authorized to promote district PAS members were challenged to take up two elementary percussion education; improving satellites of PAS throughout the U.S.” This was projects that “need immediate attention”: nota- percussion parts to school band and orchestra the first step toward forming chapters. tion and percussion curriculum. “Rather than music; acoustics of percussion instruments; The January 1967 issue of Percussionist listed stating at this time the direction these projects solo and ensemble recital materials—a clearing Peters as president and Fluegel as Secretary, should take,” the article said, “a request is house; ethnomusicology; commissioning of a but no vice-president was listed. New names

percussive notes  JANUARY 2011 between the PERCUSSION- sive Notes will continue to keep all members IST and PERCUSSIVE informed on current news, trends, recent pro- NOTES as agreed upon grams, and happenings of interest. Both publi- by their respective editors. cations will be available only to members of the Therefore, beginning next Percussive Arts Society. Members will receive fall the journal PERCUS- during each school year four issues of the PAS SIONIST and the magazine Percussionist and three issues of Percussive Notes, PERCUSSIVE NOTES plus all other announcements and information will both be publications of sent out by the society. the Percussive Arts Society. Annual memberships are $5.00 for regular All members will receive the members, and $2.50 for student member- seven publications during ships…. All students with an interest in percus- the academic year with no sion should take advantage of this excellent additional membership dues. opportunity to receive for $2.50 a wealth of James L. Moore will continue information. For the cost of less than one pri- to edit the PERCUSSIVE vate lesson, they will receive in the seven issues NOTES, and we wish to en- information and insights that they couldn’t courage all members to send possibly obtain from even the best professional him items of interest of their percussion teacher. Student membership in activities, programs, etc. the PAS along with private lessons from a fine teacher should be the goal of every aspiring per- Percussive Notes had begun cussionist. Neal Fluegel life in February 1963 as a newsletter published by the In October of 1967, after a year with no on the Board of Directors included Remo Belli Indianapolis Percussion Ensemble. The second vice-president, Al Payson was listed as VP of and Robert Zildjian, along with the first female issue (April 1963) included information about the society. It was also reported that PAS had member, identified as “Miss Barbara Buehl- how to subscribe to the Percussive Arts Society 353 regular members, 212 student members, man.” (None of the men were listed as Mr., but Bulletin. It also stated that, “Percussive Notes will and 75 library members. The Board of Direc- the “Miss” designation appeared before Buehl- review method books, reference books, solos, tors approved purchasing a PAS banner that man’s name for over a year, being dropped in ensembles, and recordings that have proven would be used for booth displays at the Mid- the March 1968 issue of Percussionist.) effective in teaching and performance. Also, West Clinic and the Mid-East Convention. Having Belli and Zildjian on the Board of newly published material will be reviewed.” In The first 1968 issue ofPercussive Notes was Directors was significant. As Sewrey expains, June of 1963 Percussive Notes began printing the first to carry significant commercial adver- “Originally, the industry was not involved in programs of percussion recitals and percussion tising, including full-page ads by Remo, Zild- any way, or allowed to be involved in any way, ensemble concerts, which would ultimately tie jian, and Drums Unlimited, and a four-page shape, or form. The fear was that the industry in with the PAS goal to serve as a “clearing- insert introducing Rogers timpani. would take over and PAS would be viewed as house of solo and ensemble percussion pro- The March 1968 issue of Percussionist carried representing the manufacturers.” grams.” the following announcement: “It is with regret Part of the reason behind this concern was Just as PAS was experiencing rapid growth that we announce the resignation of president that, at that time, the National Association of during the early 1960s, so was Percussive Notes, Gordon Peters. Due to a very busy schedule Rudimental Drummers (N.A.R.D.) was very and its articles were expressing similar interests and numerous commitments, Mr. Peters felt it prominent, and it was closely associated with and concerns as those printed the Ludwig Drum Company. “That made in Percussionist and discussed at sense,” Sewrey recalls, “because Bill Ludwig PAS Board of Directors meet- Sr. was one of the 13 drummers who estab- ings. lished N.A.R.D.” When it was announced that Sewrey credits Dick Richardson, who at the Percussive Notes would become time was in charge of the Musser division of an official PAS Publication, the Ludwig, with allaying the PAS’s concern about following explanation appeared industry involvement. “Richardson saw that in Notes: percussion had to go beyond N.A.R.D., and so he told the PAS leadership, ‘Industry people This new merger has been greet- are interested in supporting PAS. But we will ed most enthusiastically by the not dictate; all we want to do is support.’ So editors and Board of Directors of that was important for the society.” the PAS Percussionist and by the Another notable feature of the January 1967 editors of Percussive Notes. Much issue was a report by Saul (Sandy) Feldstein careful thought and planning concerning the formation of the first PAS have gone into this effort that chapter in New York State. PAS was growing we feel will be a step forward for quickly. all concerned with percussion In the May 1967 issue of Percussionist, the education and performance. The following announcements appeared: PAS Percussionist will continue to publish articles and research We are most pleased to announce that the studies of importance to all in Board of Directors has approved a merger the percussion field, andPercus - Saul (Sandy) Feldstein

percussive notes 10 JANUARY 2011 In May of 1968, it was announced that It seems we New York State had devised new adjudication are still in a sheets based on the Percussive Arts Society’s stage of turmoil: suggestions. “The results were very gratifying,” most composers Feldstein reported. “The sheets not only make are reluctant to the adjudicators job easier, but also enhance write serious the educational experience of the student and percussion solos his teacher.” and ensembles, The December 1968 issue of Percussionist ad- perhaps due to dressed the lack of serious percussion literature a lack of knowl- in an editorial: edge about percussion instruments and their no- tation, or fear of few or no performances. Often It continues to remain astounding, the lack of if one is inclined, and in fact does write serious percussion publications in this, the “Golden Age percussion literature, he is hesitant about sub- of Percussion.” The advancement of percussion mitting it to a publisher for fear or knowledge it education in the past fifteen years and particu- will be rejected. He even refrains from sending larly in the past five years has been phenomenal, it to strategic places in which it can be evaluated and yet a real void continues to exist in good and publicized in manuscript form—reason un- performance literature. This is not to imply that known. solos and ensembles are not available, but only Many publishers feel there is little market to emphasize a real lack of quantity—snare for serious percussion literature and tend to drum solos excepted—and in many cases, a lack be reluctant to publish works other than those of musical quality. of an elementary nature, or jazz oriented—”it would be difficult to continue in the very active position of president. Much of the success and Entrance Exam growth of PAS during the past few years can be attributed to his outstanding and tireless The Fall 1967 issue of Percussive Notes included a suggestion from John Noonan that leadership. He has unselfishly given of his time, PAS require prospective members to pass some sort of exam: efforts, and funds to promote the growth and activities of the organization. We are pleased We should have many more student members in PAS, but I see no real incentive for students that Mr. Peters has consented to accept the to join. Harking back to the NARD, there was a challenge there. The applicant had to play 18 elected position of vice president and will con- rudiments to gain admittance. This gave them something to work for. As I see it, we need stu- tinue as an advisory member of the Executive dents—young drummers 16 years and up—if the PAS is to go forward. But we must not place Committee.” ourselves in a begging position, but rather in a discriminating one. We must determine who Saul (Sandy) Feldstein was elected presi- gets in, and to do this one must qualify. dent, Ron Fink and Peters were elected vice At first I thought of a playing exam of solos on multiple percussion, timpani, and xylophone, presidents, and Neal Fluegel’s title changed listing the numbers to be played to the satisfaction of their teachers. However, I thought that from Executive Secretary to Secretary Trea- perhaps a general exam with questions similar to the enclosed ones might be better. This exam surer. score would indicate if the applicant has a real interest in percussion and would take work on Feldstein began his tenure with an ambi- the part of the student. Think about this; I feel we must have something that assures the PAS tious goal: “This president would like to see that applicants are truly interested in the field of percussion. our membership rise to 5,000. If each of you feel responsible to help our 1968 membership Sample questions from Noonan’s proposal included: drive, we will be able to reach this goal.” What do the following words mean? (1) Membranophones, (2) Idophones. It was announced that “significant progress” Write the ranges of the 25” and 28” timpani. had been made the previous year in the follow- What are antique cymbals and how do they differ from crotales? ing areas: What instrument is “piatti” and what does “secco” and L.V. mean? 1. Addition of Percussive Notes as an official PAS publication. The next issue of Notes included this response: 2. Special PAS articles appearing in Instru- I am a student, a member of PAS, and I love percussion. But I don’t know the difference be- mentalist, Music Journal, and NACWPI Bulletin. tween “piatti,” “secco” and “l.v.,” and “membranophone” and “idiophone.” I also don’t know 3. Display and information booth for use at the ranges of the timpani. I am sure Mr. Noonan has nothing but the best intentions, but he is conventions. wrong. An exam would only discourage many students from applying for membership in PAS 4. Printing of 100,000 newly revised applica- Many students such as myself are seriously interested in percussion, but are not technically tion forms. well acquainted with all forms of percussion. A student will say, “I haven’t a hope of getting 5. Over 100% increase in membership. into PAS.” Because they are unable to gain admittance, they will lose out on a great deal of 6. Reprints of Contest Projects in two issues knowledge from the publications of PAS. Please do not require an entrance exam. It would of The Ludwig Drummer (PAS credit). only discourage those who need PAS the most: the students without the background, who It was also reported that, “The need con- wish to develop one. tinues to develop a format that clarifies differ- Timothy G. Taylor, Dedham, Mass. ences between Percussive Notes and Percussionist. PN articles generally should be of practical After discussion at a subsequent Board of Directors meeting, it was decided not to application (“how to do it type”) or of lighter implement a qualifying test. nature.”

percussive notes 11 JANUARY 2011 won’t sell” or “there is little market for it.” And worthwhile project in order to make avail- expansion may well include performances and so it becomes a typical vicious circle—which able information and data to those schools or more symposiums, which could eventually lead comes first, the literature, the market for the lit- administrators who are in need of guidelines in to a National Percussion Convention or pos- erature, the performance of the literature, or the setting up percussion programs.” sibly a World Council of Percussion. Plans are audience’s appreciation of the literature? Three new committees were formed that now underway for a possible part or full day of When will the art of percussion truly become same year. One was to establish recommended activities to be held near the end of the current of age? When will composers realize the re- standard procedures for “all-state” auditions. calendar year.” ceptiveness and market for serious percussion The second was to compile a list of recom- The Fall 1970 issue of Percussive Notes in- literature and be willing to compose for this me- mended materials for contests. And the third cluded Fluegel’s article, “The Percussive Arts dium without a contest or commission? When was to encourage public and private music Society in the Golden Age of Percussion,” in will publishers realize the need and market for educators’ interest and membership in PAS. which he traced the society’s accomplishments serious percussion literature—the most vibrant At the end of the year, Saul Feldstein was since its founding: and colorful of the musical arts? Must we await re-elected as President, Neal Fluegel was re- the arrival of the 21st century? elected Executive Secretary, and Ron Fink was Since its conception in 1960, PAS, Inc. member- It is hoped that the people who are members re-elected Second Vice-President of PAS. ship has rocketed. Interest is high and forward of PAS subscribe to its basic philosophy “to As PAS concluded its first decade in 1970, progress has been rapid… The organization has raise the level of percussion performance.” This the society created its first staff position: a grown to over 2,000 members representing peo- can be accomplished by its members; those secretary for the Executive Secretary’s office. ple from various parts of the world involved in inclined as composers writing serious and chal- “This staff position has been a much needed all aspects of percussion. PAS, Inc. has gained lenging percussion literature; its publishers addition due to the expansion of organizational the moral and financial support of most of the publishing these compositions; and its teacher, activities and membership growth,” said the percussion manufacturers and many instrument student, and professional members supporting announcement in Percussionist. “This position dealers and publishers. Perhaps this is one of this endeavor by performing and/or directing is vital for efficiency of central office activities the unique features of the organization, i.e., all performances of the literature. and will aid in improving services for PAS concerned with percussion can meet together THIS IS THE CHALLENGE. members. With expansion, however, comes and intelligently discuss all aspects of this, the an additional challenge and responsibility for last and most exciting of the instrument families At the December 1968 Board of Directors the entire membership—prompt response to be realized, and enthusiastically reach a con- meeting, John Galm was elected 1st Vice Pres- and payment of membership dues—so that all sensus on common goals. ident, replacing Peters. Total membership was financial obligations can be met on time. The PAS, Inc. publishes a scholarly journal enti- reported as being 1,784. It was also announced membership must keep in mind the fact that tled Percussionist four times during the academic that a new PAS logo was in the process of the organization operates on a limited budget year. This publication contains articles covering being created, and that Gary Olmstead was and is legally incorporated as a not-for-profit all aspects of the percussive arts: items of inter- investigating the possibility of PAS sponsoring organization. Any profits are used to expand est to the student, professional, composer, and a percussion composition contest. growth, to support national projects, and hope- non-percussionist music educator. Over 100 In 1969, the society was incorporated in fully, in the future, to aid state organizations university libraries, both foreign and domestic, Indiana as the Percussive Arts Society, Inc., a with local projects.” now subscribe to this publication. In September, status it maintained until 1985 when it was re- PAS also published a list of available per- 1967, the Society assumed publication of Percus- incorporated under the laws of Illinois. Briefly, cussion materials, compiled by a committee sive Notes, a newsletter magazine which carries the society was identified as PAS, Inc. in the chaired by Mike Combs. And in December the features, listings and materials of a somewhat publications, but soon everyone went back to PAS sponsored its first “official” program: a lighter nature. Each annual membership entitles just calling it PAS. panel discussion at the Mid-West Band Clinic the holder to receive both publications of the It was also announced in 1969 that PAS in Chicago that included Frank Arsenault, Society. was beginning a College Percussion Curricu- Remo Belli, Larry McCormick, Al Payson, PAS, Inc. has initiated the organizing of lum Project to “promote communication and Bob Tilles, Larry Vanlandingham, and Neal state chapters to implement national goals and thought among interested participants, and Fluegel. The report in the March 1971 Percus- promote local projects. Over thirty chapters generally aid in the improvement of percus- sionist can be seen today as prophetic: “It was are now in existence. During the past years sion pedigogy, curriculum advancement, and a fine initiation for what is hoped will develop the Society has undertaken nationally many performance. The Society has undertaken this into a much broader program concept. This projects through committee activity to promote the stated purposes of the organization. Specific projects under study include: Acoustics of Per- cussion Instruments; Avant-garde Percussion Music; College and University Percussion Cur- riculum and Materials; Elementary percussion Solo and Ensemble Contest Adjudication Stan- dards, Procedures, and Materials; Musicology and Ethnomusicology as Relates to Percussion; Percussion Literature Improvement; Methods, solos, Ensembles, Percussion Parts to Band, Orchestra, and Stage Band Drumming; Stan- dardization of Terminology and Notation of Percussion Instruments.

PAS had grown tremendously in its first ten years, but was still just a shadow of what it was to become. PN

percussive notes 12 JANUARY 2011 percussive notes 13 JANUARY 2011