DOCSLIB.ORG

An Examination of Notation in Selected Repertoire for Multiple Percussion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Examination of Notation in Selected Repertoire for Multiple Percussion AN EXAMINATION OF NOTATION IN SELECTED REPERTOIRE FOR MULTIPLE PERCUSSION D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School at The Ohio State University By Alyssa Gretchen Smith, B.M., M.M. * * * * * The Ohio State University 2005 Document Committee: Approved by Professor Susan Powell, Adviser Dr. Jacqueline Henninger ______________________ Dr. Russel Mikkelson Adviser Graduate Program in Music Professor Christopher Weait ABSTRACT This document is an examination of multiple percussion notation in selected repertoire. A complete standardization for multiple percussion is unlikely, and this project does not seek to standardize notation. Rather, it seeks to describe important works and their notational systems, thus illustrating that a standardization is not possible and would limit composers’ creativity. The chosen repertoire represents a historical range of the genre, spanning from the first multiple percussion composition in 1918 to contemporary works. The compositions chosen for this project are presented in chronological order, and consist of the following works: Igor Stravinsky’s L’Histoire du Soldat, Darius Milhaud’s La Création du Monde and Concerto for Percussion and Small Orchestra, Morton Feldman’s The King of Denmark, William Kraft’s English Suite, Iannis Xenakis’ Psappha and Rebonds, and David Holliden’s Cold Pressed. Each work was examined and then described in terms of instrumentation, set- up, composer’s instructions, and notational systems. In addition, the study seeks to identify connections between the composers’ chosen notational systems, the composers’ backgrounds, and the works’ chronological placement in the development of percussion music. This document’s purpose is to illustrate the compositional devices used, and in some cases created, by the selected composers. Several ii problems in notation were concluded from the examination, including composers’ choice of and inconsistencies in note placement, unnecessary details, multiple staves, and unfamiliar graphic notation. Further conclusions drawn from the examination offer suggestions for assisting composers project a clear representation of their intentions. iii Dedicated to my family and friends iv ACKNOWLEDGMENTS This project could not have been completed without the help and support of the faculty members at The Ohio State University, my family, and friends. Thank you to my adviser, Susan Powell, for all I have learned from you during my stay at The Ohio State University and for your guidance on this project. I am indebted to the other members of my committee, who have supported me over the past four years: Dr. Russel Mikkelson and Professor Christopher Weait, thank you for selflessly giving your time to help me complete this document. And to Dr. Jacqueline Henninger, I am grateful for the opportunity to learn from you and filter ideas through you and for your input on the final draft. I wish to thank my parents, James and Alberta; my sister Megan; my brother Scott, my sister-in-law Dawn, and my niece and nephew Emily and Tyler, for your support and for driving across state lines for recitals. Mom and Dad, thank you for driving me to that first lesson, for encouraging me, and for helping make it possible to continue in the music field. This document’s completion was aided by my cousin Brian – thank you for the use of your Adobe software and for lending your computer knowledge. v I am grateful to the friends I have met over the years, for enriching me with their unconditional support and encouragement. I especially thank Kay – my OSU roommate and family. Thank you for your input, for believing in me, for pushing me, and for inspiring me. Thank you to Mike Green, for that first time you opened the filing cabinet drawer and placed texts like Percussion Instruments and Their History into my hands, and for guiding me for four years at DePaul. Finally, I wish to thank the C.F. Peters Coportation, C. Alan Publications, Universal Edition A.G., and the Percussive Arts Society for granting permission, gratis, for the use of their publications The King of Denmark, Cold Pressed, Concerto for Percussion and Small Orchestra, and Standardization of Percussion Notation. I would also like to acknowledge Warner Brothers Publications U.S., Inc., G. Schirmer, Inc., Editions Durand and Editions Salabert for granting permission for the use of English Suite, L’Histoire du Soldat, La Création du Monde, Psappha, and Rebonds. All rights for the world on behalf of Editions Durand (SACEM) and Editions Salabert (SACEM) administered by BMG Music Publishing France (SACEM). All rights for the U.S. on behalf of BMG Music Publishing France (SACEM) administered by BMG Songs, Inc. (ASCAP). vi VITA September 25, 1977………..……………Born – Flushing, Michigan 1999…..……………….………………....B.M. Music Performance, DePaul University 2000…………………...…………………M.M. Music Performance, Northwestern University 2000-2001…………………………...…...Instructor, Flint School of Performing Arts Flint, Michigan 2001-2004……………………………….Graduate Teaching Associate The Ohio State University 2004-Present……………………….….…Instructor, Flint School of Performing Arts Flint, Michigan FIELDS OF STUDY Major Field: Music vii TABLE OF CONTENTS Page Abstract………………………………………………………………………………..ii Dedication…………………………………………………………………………….iv Acknowledgments……………………………………………………………………..v Vita………………………………………………………………………………..…vii List of Figures………………………………………………………………………....x Chapters: 1. Introduction……………………………………………………………………1 2. Stravinsky’s L’Histoire du Soldat……………………………………………23 3. Milhaud’s La Création du Monde and Concerto for Percussion and Small Orchestra…………………………………………………………………….39 4. Feldman’s The King of Denmark…………………………………………….50 5. Kraft’s English Suite…………………………………………………………59 6. Xenakis’ Psappha……………………………………………………………67 7. Xenakis’ Rebonds……………………………………………………………78 8. Hollinden’s Cold Pressed……………………………………………………82 9. Summary, Conclusions, Suggestions and Recommendations…...………..…89 viii Appendices: Appendix A: Selected Annotated Bibliography of Available Educational Multiple Percussion Collections.…………………………………………...…97 Appendix B: Selected Discography of Examined Works……….…...…..……….100 Bibliography……………………………………………………………..…………103 ix LIST OF FIGURES Figure Page 1.1 Notated from lowest pitch (left) to highest pitch (right)…………………..…..3 1.2 Standardization of Percussion Notation. Reprinted by permission of the Percussive Arts Society, Inc………………………………..…………………8 2.1 Set-up diagram for Histoire du Soldat. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission………………………………..….26 2.2 Order of instruments on the staves, instrument labels added by author. Measures 19-24, Triumphal March of the Devil. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission………………………………...…27 2.3 Measures 19-24, Triumphal March of the Devil, edited by James Blades. Copyright © 1987, 1992 by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission…………..…27 2.4 Use of additional line, instrument labels added by author. Measures 16-17, Triumphal March of the Devil. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission…………………………………...28 2.5 Measures 16-17, Triumphal March of the Devil, edited by James Blades. Copyright © 1987, 1992 by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission…………..…29 2.6 Stravinsky’s set-up (left) and a common timpani set-up…………………….30 2.7 Use of stem directions. Measures 1-13, Tango. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission…………………………………...31 x 2.8 Use of stem directions. Measures 30-33, Devil’s Dance. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission………………………...33 2.9 Measures 30-33, Devil’s Dance, edited by James Blades. Copyright © 1987, 1992 by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission………………………………...…33 2.10 Beaming according to rhythmic groupings…………………………………..33 2.11 Bass drum and cymbal placement. Measures 1-12, Royal March. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission……………..34 2.12 Bass drum and cymbal placement. Measures 16-17, Triumphal March of the Devil. Used by permission…………………………………………………..34 2.13 Additional line in Royal March. Measures 13-14. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission………………………...35 2.14 Additional line in Triumphal March of the Devil. Measures 16-17. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission……..………35 2.15 Measures 39-46, Devil’s Dance. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved.…………………………………………………………..…………35 2.16 Use of staves. Measures 19-24, Triumphal March of the Devil. Copyright © 1924 (Renewed) by Chester Music Limited, London. International Copyright Secured. All Rights Reserved. Used by permission……………...…………36 2.17 Use of one
Load more

Recommended publications
  • Tutti I Plagi Di Fabrizio De André
    TUTTI I PLAGI DI FABRIZIO DE ANDRÉ Storie di musica, collezioni, emozioni G IT RO A P I I PIÙ RAR sommario Il prossimo VINILE #1 2016 numero sarà Articoli in edicola il Fabrizio De André 10 giugno 14 Luci, ombre, stroncature, plagi e contraffazioni del più intoccabile dei cantautori italiani. di Alessio Lega Mark Fry 30 Il disco più raro e improbabile fra quelli pubblicati dalla It di Enzo Micocci ha una storia fatta di personaggi straordinari e intrecci impensabili. di Maurizio Becker Furio Colombo 38 La mitica scena del Greenwich Village, gli esordi di Bob Dylan e le fortune internazionali di una canzone tutta italiana, nei ricordi di un testimone d’eccezione. Intervista di Luciano Ceri I gioielli del Prog 46 I 15 album più rari e costosi del Prog italiano. di Franco Brizi Nada 56 Un servizio fotografico in bianco- nero realizzato nel 1968, alla vigilia del suo primo Sanremo: pura magia. di Francesco Coniglio Battisti-Mogol 60 35 anni dopo, i veri motivi della rottura. di Michele Neri Pier Paolo Pasolini 72 Un intellettuale a tutto tondo: letteratura, poesia, cinema, teatro, giornalismo. E canzoni. Lo sapevate? di Luciano Ceri Guido Guglielminetti 80 Battisti, Fossati, De Gregori, ma anche Patrick Samson, Umberto Tozzi e… Nilla Pizzi. La lunga storia di un 14 bassista per caso. Intervista di Vito Vita Fabrizio Rhino Records 110 Esce un libro che racconta le storie di 50 negozi USA specializzati in vinile: la nostra anteprima. De André di Mike Spitz e Rebecca Villaneda I segreti del genio Domenico Modugno 116 La discografia completa di un mito assoluto della canzone italiana.
    [Show full text]
  • THE CLEVELAN ORCHESTRA California Masterwor S
    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
    [Show full text]
  • Cose Da Fare 2021 GIUGNO - DICEMBRE
    cose da fare 2021 GIUGNO - DICEMBRE TUTTO L’ANNO Anche il Museo degli Sguardi, uno dei RIMINI, VIA L. TONINI 1 E PIAZZA principali musei italiani dedicati alle culture FERRARI extraeuropee, ospitato a Villa Alvarado, MUSEI COMUNALI sul colle di Covignano, è visitabile a richiesta. E DOMUS DEL CHIRURGO Info: 0541.793851 La Domus del chirurgo e il Museo della Città www.museicomunalirimini.it invitano a visitare l’area di scavo in piazza Ferrari che ha restituito la taberna medica TUTTO L’ANNO con il più ricco corredo chirurgico di epoca RIMINI, PIAZZA CAVOUR romana giunto fino a noi e conservato negli PART, PALAZZI DELL’ARTE RIMINI spazi del vicino Museo della Città. Uno spazio museale dove l’antico avvolge il Qui, attraverso la sezione archeologica e contemporaneo in un abbraccio di reciproco quella medievale e moderna si racconta la arricchimento. Un museo d’arte moderna storia di Rimini. Il Museo regala l’emozione di e contemporanea, nato dall’incontro tra scoprire la Rimini malatestiana attraverso i il Comune di Rimini e la Fondazione San dipinti della scuola riminese del Trecento, la Patrignano. Dove l’antico è lo spazio celebre Pietà del Bellini, le opere di Agostino espositivo dei medievali palazzi dell’Arengo e di Duccio e del Ghirlandaio e la pittura del del Podestà, restituiti all’originale splendore Seicento romagnolo nelle tele di Cagnacci, da un progetto di restauro e valorizzazione del Centino e del Guercino. architettonica. E il contemporaneo è la Ingresso: € 7 intero, € 5 ridotto. raccolta eclettica e variegata di importanti Orario estivo (giugno – agosto): opere del Novecento e del nuovo millennio, da martedì a domenica 10 - 19.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Paris, 1918-45
    un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza­ tions.
    [Show full text]
  • Music You Know & Schubert
    CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden.
    [Show full text]
  • S. 63–68 Barbara L. Kelly
    FZMw Jg. 7 (2004) S. 63–68 Barbara L. Kelly: Tradition and Style in the Works of Darius Milhaud 1912- 1939 (Aldershot: Ashgate, 2003) ISBN 0 - 7546 3033 1 Review by Caroline Rae –1– One of the most prolific composers of his age, Darius Milhaud committed what remains for some the inexcusable crime of having simply composed too much. His music has long suffered from unquestioned preconceptions, selective propaganda, clichéd over-simplistic historical pigeon-holing, and accusations of unevenness. As a result, much of his work has been neglected, Milhaud's reputation resting on a tiny proportion of a vast output which spanned more than sixty years and more than 400 opus numbers. While some surveys of twentieth century music ignore his work entirely, he is more typically accounted for as the supreme perpetrator of Cocteau-esque clownerie in 1920s Paris; a composer of jazz-inspired ballets, unusual pieces about flowers and agricultural machinery who generally "spiced things up with his chums" in Les Six by his entertaining and jolly Brazilian borrowings. That he established himself as an independent figure, certainly by the 1930s if not before, is often ignored, his music being largely defined in terms of his association with Les Six . The deeper complexities of Milhaud's musical persona – the reasons underlying his admiration for Schoenberg, his views on contemporary music, his relationship to and ideas about French musical tradition, nationhood and identity – have tended to be overlooked. –2– Thirty years since Milhaud's death, a welcome reassessment of his contribution not only to French music but to twentieth century music as a whole, is now underway.
    [Show full text]
  • Heitor Villa-Lobos and the Parisian Art Scene: How to Become a Brazilian Musician*
    1 Mana vol.1 no.se Rio de Janeiro Oct. 2006 Heitor Villa-Lobos and the Parisian art scene: how to become a Brazilian musician* Paulo Renato Guérios Master’s in Social Anthropology at PPGAS/Museu Nacional/UFRJ, currently a doctoral student at the same institution ABSTRACT This article discusses how the flux of cultural productions between centre and periphery works, taking as an example the field of music production in France and Brazil in the 1920s. The life trajectories of Jean Cocteau, French poet and painter, and Heitor Villa-Lobos, a Brazilian composer, are taken as the main reference points for the discussion. The article concludes that social actors from the periphery tend themselves to accept the opinions and judgements of the social actors from the centre, taking for granted their definitions concerning the criteria that validate their productions. Key words: Heitor Villa-Lobos, Brazilian Music, National Culture, Cultural Flows In July 1923, the Brazilian composer Heitor Villa-Lobos arrived in Paris as a complete unknown. Some five years had passed since his first large-scale concert in Brazil; Villa-Lobos journeyed to Europe with the intention of publicizing his musical output. His entry into the Parisian art world took place through the group of Brazilian modernist painters and writers he had encountered in 1922, immediately before the Modern Art Week in São Paulo. Following his arrival, the composer was invited to a lunch in the studio of the painter Tarsila do Amaral where he met up with, among others, the poet Sérgio Milliet, the pianist João de Souza Lima, the writer Oswald de Andrade and, among the Parisians, the poet Blaise Cendrars, the musician Erik Satie and the poet and painter Jean Cocteau.
    [Show full text]
  • Nationalism, Primitivism, & Neoclassicism
    Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets
    [Show full text]
  • Archivio D'autore: Le Carte Di Fabrizio De André
    STRUMENTI CXCIV OSCADELLI M ANO F TE Nella facciata anteriore della sovracoperta: e S Particolare di una stesura, di mano di Fabrizio De André, del testo della canzone Crêuza de ABBRINI (AFDA, G.V.28 [1997, novembre]). F mä ante © «Fondazione Fabrizio De André onlus». ARTA M Nella facciata posteriore della sovracoperta: Fabrizio De André in concerto al Teatro Tenda di Firenze (gennaio 1982). Archivio d’Autore: Fotografia di Lorenzo Maffei. le carte di Fabrizio De André © «Archivio Lorenzo Maffei». Inventario a cura di Inventario Archivio d’Autore: le carte di Fabrizio De André d’Autore: le carteArchivio di Fabrizio Le scansioni dei documenti sono state realizza- te presso l’Università degli studi di Siena, Inventario a cura di Sistema Bibliotecario di Ateneo. MARTA FABBRINI e STE F ANO MOSCADELLI I curatori e l’editore del volume ringraziano Introduzione di la «Fondazione Fabrizio De André onlus» e STE F ANO MOSCADELLI l’«Archivio Lorenzo Maffei» per aver messo gentilmente a disposizione i documenti che R O M A compaiono nelle facciate della sovracoperta. 2012 MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI La riproduzione sotto qualsiasi forma di tali DIREZIONE GENERALE PER GLI ARCHIVI documenti non può avvenire senza specifica 2012 autorizzazione da parte degli aventi diritto. PUBBLICAZIONI DEGLI ARCHIVI DI STATO STRUMENTI CXCIV STRUMENTI CXCIV 978-88-7125-323-7 N SB I Archivio d’Autore: OSCADELLI M le carte di Fabrizio De André ANO F TE e S ABBRINI Inventario a cura di F MARTA FABBRINI e STE F ANO MOSCADELLI ARTA M Introduzione di STE
    [Show full text]
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • NON-TRADITIONAL INSTRUMENTS in a TRADITIONAL ROLE THREE•WORKS for PERCUSSION ENSEMBLE SINCE I960 Martha Joy Reeder a Thesis Su
    Non-traditional instruments in a traditional role: three works for percussion ensemble since 1960 Item Type text; Thesis-Reproduction (electronic) Authors Reeder, Martha Joy Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 14:12:36 Link to Item http://hdl.handle.net/10150/557382 NON-TRADITIONAL INSTRUMENTS IN A TRADITIONAL ROLE THREE•WORKS FOR PERCUSSION ENSEMBLE SINCE i960 by Martha Joy Reeder A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of ' MASTER OF MUSIC WITH A MAJOR IN MUSIC THEORY In the Graduate College THE.UNIVERSITY OF,ART ZONA 1 9 8 0 STATEMENT BY AUTHOR This thesis has been submitted in partial ful­ fillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. - : Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for per­ mission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the music department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of Scholarship.
    [Show full text]