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INFORMATION to USERS This Manuscript Has INFORMATION TO USERS This manuscript has been reproduced from the microfiUm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in Qpewriter face, while others may be from w y type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photogr^hs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with sm all overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photogr^hs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for aiqr photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 3l3.'761-4700 800/521-0600 NOTABLE PERCUSSION EXCERPTS OF THE TWENTIETH CENTURY WIND-BAND REPERTOIRE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Charles Timothy Sivils, M.M. ***** The Ohio State University 1995 Document Committee: Approved by Richard Blatti A. Peter Costanza Marshall Haddock Adviser James L. Moore Department of Music UNI Number: 9525984 DMI Microform 9525984 Copyright 1995, by OMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ACKNOWLEDGMENTS 1 would like to acknowledge and e;q)ress my sincerest thanks to the many people without whom the completion of this document would have beoi impossible; My wife, Amy, vtdiose patience, support, and encouragement was unending, and whose proofreading, word processing, and taping skills were invaluable. My children, Charlie, Will, and Mary Emma, for willingly giving up many, many hours of “quality time” with their dad, w^ich rightfully belonged to them. Professor Richard Blatti of The Ohio State University for his priceless knowledge of the wind-band repertoire, and for the guidance, suggestions, and time (of Wiich he has very little) he was willing to give me and this project. Dr. James L. Moore, for his kindness, support, and willingness to proofread parts of this document, and for donating valuable materials from his own research Wrich concerned this topic. Dr. A Peter Costanza, for his willingness to proofread parts of this document during a time in which he could have devoted all available time and energy into overseeing the 1995 OMEA State Convaition. Craig Young, for the many times he helped me find vfrat I needed in the OSU Band Music Library. Professor H. Robert Reynolds of the University of Michigan, for making that university’s band music library available to me, and to Ms. Maggie St. Clair and Mr. Bill Keilerman for their wonderful hospitality and professionalism in assisting me while on campus. The many percussionists and conductors who responded to my surveys, submitting valuable suggestions of pieces Wiich represented the core of my research. My father-in-law. Dr. L. R. Werschky, for his support and efforts in supplying me with the necessary computer software for this project. To my parents, for their support, encouragement, and prayers. And to God, for all the many wonderful things he has graciously given me. VITA March 1,1963 ....................................................... Bom - Benton, Arkansas 1981-1986 ...........................................................B.M.E., Northeast Louisiana University, Monroe, Louisiana 1986-1989 ...........................................................M.M., Miami University, Oxford, Ohio, Graduate Teaching Assistant in Percussion (1986-1988) 1989-Present...........................................................D.M.A., The Ohio State University, Columbus, Ohio, Graduate Teaching Associate in Percussion (1989-1993) 1993-1994 ...........................................................Lecturer in Percussion, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field; Music Studies in Percussion, Mr. Allen Wojtera, Northeast Louisiana University Studies in Composition, Dr. Roger Jones, Northeast Louisiana University Studies in Percussion, Dr. William Albin, Miami University Studies in Percussion, Dr. James L. Moore, The Ohio State University Studies in Percussion, Dr. Jack Jenny, Columbus Symphony Orchestra Studies in Percussion, Mr. Fernando Meza, The Ohio State University Studies in Percussion, Mr. Michael Bump, The Ohio State University Studies in Composition, Dr. Mario Pelusi, The Ohio State University Studies in Composition, Dr. Elliot Schwartz, The Ohio State Unversity III TABLE OF CONTENTS ACKNOWLEDGMENTS........................................................................................................... ii VITA .............................................................................................................................................. iii LIST OF FIGURES...................................................................................................................... vii INTRODUCTION ...................................................................................................................... 1 Purpose o f tiie S t u d y ............................................................................................. 1 Definitions ............................................................................................................... 1 Limitations ............................................................................................................... 2 Methodology ........................................................................................................... 4 Chapter I. T IM P A N I...................................................................................................................... 6 KAREL HUSA; A l F r e s c o .................................................................... 6 KAREL HUSA: “Tragedy o f Destruction ” from Apotheosis o f this Earth .................................................................................................... 9 KAREL HUSA: Concerto for Wind Ensem ble ................................................ 15 BOB MARGOLIS: Terpsichore ......................................................................... 24 VACLAV NELHYBEL: Symphonic Movement ............................................. 26 FLORENT SCHMITT: Dionysiaques .............................................................. 29 JOSEPH SCHWANTNER: and the mountains rising nowhere ..................... 31 Special Effect Excerpts ...................................................................................... 33 WARREN BENSON: The Passing Bell ERNST KRENEK: Dream Sequence ROSS LEE FINNEY: Skating on the Sheyenne W. FRANCIS McBETH: To Be Fed By Ravens BOB MARGOLIS: Terpsichore HENK BADINGS: Transitions VACLAV NELHYBEL: Trittico DAVID GILLINGHAM: Heroes, Lost and Fallen Other Notable Timpani Excerpts ........................................................................ 39 II. KEYBOARD P E R C U S S IO N ................................................................................... 40 VITTORIO GIANNINI: Praeludium and A lleg ro ......................................... 40 DAVID GILLINGHAM: Heroes, Lost and F allen .......................................... 43 IV ALAN HOVHANESS: •/ .............................................................. 46 KAREL HUSA: A l Fresco ............................................................................... 48 KAREL HUSA: Concerto for Wind Ensemble ............................................ 51 ERNST KRENEK: "Dream About Flying" from Dream Sequence .... 59 VACLAV NELHYBEL: Symphonic Movement ............................................. 60 RON NELSON: "Homage to Perotin " from Medieval S u ite ........................ 63 NELSO}^: Morning Alleluias for the Winter Solstice ........................ 65 RON NELSON: Rocky Point H o lid a y .............................................................. 66 Chime E x cerp ts ....................................................................................................... 73 H. OWEN REED: La Fiesta Mexicana VERNE REYNOLDS: Scenes Revisited Other Notable Keyboard Percussion Excerpts ................................................... 75 III. SNARE D R U M ........................ 76 MALCOLM ARNOLD: Four Scottish Dances ................................................ 76 KAREL HUSA: "Interlude ” from Music for Prague 1968 77 CHARLES IVES: "Country Band" March ................................................. 79 GORDON JACOB: "The Earle o f Oxford's Marche ’ from William Byrd Suite ............................................................................ 81 VACLAV NELHYBEL: Trittico ..................................................................... 83 H. OWEN REED; La Fiesta
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