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An Examination of Notation in Selected Repertoire for Multiple Percussion

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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
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  • 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 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.