Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. 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 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ____________________________________________ Date: December 7, 2016 Document Director: Norman Weinberg 2 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the 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 document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Richard David Puzzo, Jr. 3 ACKNOWLEDGEMENTS I would like to thank my faculty advisor and document director, Dr. Norman Weinberg, for his continued support, advice, patience, and trust throughout this project and degree program. In addition, I am also grateful for the support from Prof. Edward Reid and Prof. Moisés Paiewonsky who served on my major advisory committee throughout my time at the University of Arizona, as well as Dr. Shelly Cooper and Dr. Donald Hamann for their participation as members of my minor committee. Further appreciation to the following performers and teachers: Dr. R. Richard MacDonald – for granting permission to use selections from his doctoral dissertation “A Pedagogy for Ten Standard Orchestral Percussion Excerpts.” Many of these are found in the resources section of the retrieval system. Raynor Carroll, Shaun Tilberg, William James, and Lee Vinson – who all granted permission and concurred with the use of their published material in the retrieval system I wish to acknowledge the publishers who granted copyright reprint permission so that I could include an image of the notation of the percussion excerpts in the retrieval system: Universal Edition, Editions Durand, Boosey & Hawkes, and the Music Sales Group representing American Music Publishers and G. Schirmer. These endeavors are nearly impossible without the support of family and good friends: Kyle Maxwell-Doherty – who reviewed several versions of my proposal and put up with numerous texts and emails. He made outstanding observations. Dr. Alex Wier -- for testing the retrieval system and providing excellent feedback. Svet Stoyanov – who helped me prepare my audition to the University of Arizona and was an excellent teacher for me. Michael and Christine Massimi – for their strength and support. And especially my wife, Jeanette, and children, Stephen, Abigail and Madeline – for their emotional and inspirational support. 4 TABLE OF CONTENTS LIST OF FIGURES AND TABLES .................................................................................. 7 ABSTRACT ....................................................................................................................... 8 CHAPTER 1: INTRODUCTION ...................................................................................... 9 Intent and Scope ..................................................................................................... 9 CHAPTER 2: REVIEW OF SCHOLARLY LITERATURE .......................................... 13 Orchestral percussion excerpt audition lists ........................................................ 13 Audition Preparation Articles .............................................................................. 16 Orchestral Percussion Excerpts Not Just for Auditions ....................................... 17 Review of Performance Analyses of Orchestral Percussion Excerpts ................. 19 Justification for an Orchestral Percussion Excerpt Retrieval .............................. 21 Review of Adaptions of Kodály Method for Instruments.................................... 24 Educational Philosophy ....................................................................................... 25 CHAPTER 3: SURVEY OF AUDITIONS ..................................................................... 28 Excerpt Identification Criteria ............................................................................. 30 Results .................................................................................................................. 31 CHAPTER 4: BUILDING THE RETRIEVAL SYSTEM .............................................. 32 Music Retrieval Systems ...................................................................................... 32 Kodály and Music Education Principles .............................................................. 33 Analysis Criteria .................................................................................................. 36 Keyword/Criteria Attributes Defined .................................................................. 40 Selected Excerpts ................................................................................................. 40 CHAPTER 5: CONCLUSION .......................................................................................... 44 5 TABLE OF CONTENTS - Continued APPENDIX A: LIST OF 129 MAIN TITLES ................................................................. 46 APPENDIX B: LIST OF WORKS REQUESTED IN THEIR ENTIRETY .................... 50 APPENDIX C: COPYRIGHT PERMISSION LETTERS .............................................. 54 APPENDIX D: ORCHESTRAL PERCUSSION EXCERPT RETRIEVAL SYSTEM INDEX ............................................................................................................. 62 APPENDIX E: PRINTOUT OF RETRIEVAL SYSTEM AND RELATED DOCUMENTS .................................................................................................................. 76 REFERENCES ............................................................................................................... 254 6 LIST OF FIGURES AND TABLES FIGURE 1: RUBRIC FOR CHICAGO SYMPHONY PERCUSSION AUDITION ....... 14 FIGURE 2: REPERTOIRE AND METHOD BOOK CROSS REFERENCE ................. 15 FIGURE 3: SAMPLE SONG ANALYZED FOR A RETRIEVAL SYSTEM ................ 38 FIGURE 4: EXAMPLE OF CRITERIA TEMPLATE FOR KODÁLY MUSIC RETRIEVAL SYSTEMS .................................................................................................. 39 TABLE 1: LIST OF THIRTY-FIVE AUDITIONS .......................................................... 29 TABLE 2: LIST OF SCHEHERAZADE OCCURRENCES ........................................... 30 TABLE 3: LIST OF SELECTED EXCERPTS FOR RETRIEVAL SYSTEM ................ 41 7 ABSTRACT Teachers and performers have advocated the study of orchestral excerpts for many decades. There are articles, dissertations, reference books, and method books that provide annotated and edited excerpts for use by students. It is well known that obtaining the actual music to the excerpt for practice or to prioritize which excerpts may be asked on an audition can be a difficult and daunting task. Playing orchestral excerpts can seem complicated. Students and teachers may not know what excerpts to play or on which to start. This research has produced an a collection of a wide variety of orchestral percussion excerpts collected that are analyzed in the style of Kodály song retrieval systems commonly used by general music education teachers around the world. The Orchestral Percussion Excerpt Retrieval System presented in this document contains 100 excerpts and combines features of the excerpts (keywords that describe the excerpts and are searchable), recommended recordings and internet links, average tempi, and practice suggestions that involve a reference, link to a source, or document. The printed version also includes an index. Use of a retrieval system allows teachers the flexibility to select appropriate music that