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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may t>e from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy sutwnitted. Broken or indistinct print, colored or poor quality illustrations and photographs, 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, treginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE EMERGENCE AND DEVELOPMENT OF MALLET ENSEMBLE LITERATURE IN THE UNITED STATES: 1894-2001, WITH ANALYSES OF SELECTED WORKS A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By BRUCE E. ROBERTS Norman, Oklahoma 2003 UMI Number: 3078945 UMI UMI Microform 3078945 Copyright 2003 by ProQuest Information and Leaming Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 © Copyright by Bruce E. Roberts, 2003 All Rights Reserved. THE EMERGENCE AND DEVELOPMENT OF MALLET ENSEMBLE LITERATURE IN THE UNITED STATES: 1894-2001 WITH ANALYSES OF SELECTED WORKS A Document APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Richard Gipson ÏA — Dr. Mjchael Rogers Dr. Michael Lee Dr. Allan Ross C\a a / ^ . Paul Bell ACKNOWLEDGMENTS Many individuals have been significant in the development of this document. First, I wish to thank Dr. Richard Gipson, document advisor, for his continual support towards the completion of this document as well as the devoted years of personal guidance and teaching. I also want to thank the members of my doctoral committee for their support and recommendations of the project—Dr. Michael Lee, Dr. Allan Ross, Dr. Michael Rogers, and Dr. Paul Bell. Many authorities provided valuable insight through personal experiences. Those granting interviews, both formal and informal, were especially helpful within this held of research. Lester Godinez, director of the Marimba de Concierto de la Presidencia of Guatemala granted an interview regarding the historical development of the early marimba ensemble in Guatemala. In addition, I am deeply indebted towards Mr. Godinez’s willingness to offer a private lecture-recital at the Guatemalan National Palace. I also thank Dr. Vida Chenoweth for her guidance, time, and knowledge regarding first-hand insights into the historical development of the mallet ensemble along with Mr. Gordon Peters and Dr. Lance Drege. Dr. Laurence Kaptain provided an interview in the form of informal questioning via electronic mail. The insights of these individuals brought clarity to the project. Those individuals supplying unpublished documents were also invaluable to this research. In particular, I wish to express my appreciation to Otice C. Sircy, curator of the Percussive Arts Society, Inc. Museum and Research Library for his knowledge and guidance. The Percussive Arts Society was very generous towards IV this research allowing for cataloguing and reprinting of the estimated 1,500 marimba band albums donated by Edwin L. Gerhardt of Baltimore. Maryland. I would also like to thank Edgar Cajas of Guatemala who was very instrumental in securing interviews and background information into the Guatemalan music culture. Finally, I am deeply indebted to my wife Toni for her patience and support during the completion of this document and degree program. I also thank my mentor and hriend. Dr. Harold Jones, for his continual support, advice, and encouragement throughout this process. TABLE OF CONTENTS Chapter Page I. THE PROBLEM, PURPOSE, AND DESIGN OF THE STUDY________________________ 1 Introduction ..................................................................................................................................1 Statement OF THE P roblem ..........................................................................................................8 N eed for the Study ...................................................................................................................... 9 Purpose of the Study ..................................................................................................................11 Limitations ofthe Study ...........................................................................................................12 D esign ofthe Study ....................................................................................................................13 DEFINITION OF TERMS.....................................................................................................................14 Organization ofthe Study .......................................................................................................18 II. SURVEY OF RELATED LITERATURE________________________________________ 20 Introduction ................................................................................................................................20 Related Percussion Ensemble Literature .............................................................................20 Related Mallet Ensemble Literature ....................................................................................27 III. THE EMERGENCE AND EARLY DEVELOPMENT OF MALLET ENSEMBLE LITERATURE_________________________________________________________________ 35 1894-1929 .......................................................................................................................................35 The Historical Development ofthe Eariy Marimba and its Music in Central America. ............35 The Emergence ofthe Chromatic Marimba. ..............................................................................50 indigenous Mallet Ensemble Literature o f the Marimba Doble Ensemble ................................ 56 The Adoption o f European Musical Forms by the Hurtado Brothers' Marimba Band ............. 70 Introduction o f the Marimba Doble Ensemble to the United States .......................................... 73 The Transmission o f Marimba Ensemble Literature through Recordings ..................................77 The Promotion o f the Marimba by John Calhoun Deagan ........................................................83 1930-1953 .......................................................................................................................................90 The Adoption o f the Chromatic Marimba in the United States ..................................................90 The Influence o f Clair Omar Musser .........................................................................................92 The Century o f Progress International Exposition.................................................................... 95 The International Marimba Symphony Orchestra .....................................................................98 The Enid Marimba Symphony Orchestra ................................................................................ 104 Literature ofthe Marimba Symphony Orchestra ..................................................................... 109 IV. THE COLLEGIATE DEVELOPMENT OF MALLET ENSEMBLE UTERATURE_-118 1954-1977 ..................................................................................................................................... 118 Introduction............................................................................................................................./18 The Influence o f Gordon B. Peters..........................................................................................120 Compositional Development ofthe Percussion Ensemble.......................................................126 Surveys ofFrequetaly Performed Percussion Ensemble Compositions.................................. 129 1978-2001 ..................................................................................................................................... 137 Itaroduction .............................................................................................................................137 The Etymology o f the Term “Mallet Ensemble "...................................................................... 138 Influences in the Developmeta o f Ensemble Literature for Keyboard Percussion ...................146 V. ANALYSES OF SELECTED MALLET ENSEMBLE COMPOSITIONS_____________ 155 Chorale for Marimba Q uintet ...............................................................................................156 VI Len to for m a r im b a E n sem ble ....................................................................................................................157 T he Sw ords o f M o d a -L in g ...........................................................................................................................160 Prelude for 4
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