FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “FROM PIANO TO PERCUSSION: VIVIAN FINE, ZITA CARNO, AND GITTA STEINER COMPOSE FOR PAUL PRICE AND THE NEWLY EMERGING PERCUSSION ENSEMBLE” By HALEY JO NUTT A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music 2017 Haley Jo Nutt defended this thesis on March 20, 2017. The members of the supervisory committee were: Denise Von Glahn Professor Directing Thesis John W. Parks IV Committee Member Evan Jones Committee Member The Graduate school has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii To my grandmother iii ACKNOWLEDGMENTS I would like to thank my advisor, Dr. Denise Von Glahn, for her guidance and encouragement since I arrived at Florida State University in 2015. I have gained an incredible amount of confidence in my writing and research as a result of her endless support. I would also like to thank my committee members Dr. John W. Parks IV and Dr. Evan Jones for their feedback and suggestions on my thesis and other academic affairs. This project would not have been possible without their advice and wisdom. I would also like to extend my gratitude to all of my percussion teachers from the past – Mr. Reggie Cook, Mrs. Layci Guyon-Dagley, Dr. Brian West, Dr. Richard Gipson, Mr. Joey Carter, Dr. Dave Hall, and Mr. Jeff Hodge – for passing down their extensive percussion knowledge and for always believing in me. Never once did I ever feel that my gender impeded upon my percussion education, and for that I am grateful. Without the passion I developed for music as a percussionist, my musicology career would never have had an opportunity to flourish. To my mother and grandfather: thank you for all of the time, money, and love that you have invested in me in my 24 years. I love you both more than words can express. To all of my friends in both Texas and Florida, musicians or otherwise: you have helped me to become who I am today. Thank you. Finally, I must thank all of the women of the past and present who have followed their dreams against conventional odds. The accomplishments of Vivian Fine, Zita Carno, and Gitta Steiner, as well as numerous others, inspire me daily to pursue my passions, remain curious in the world around me, and never give up. iv TABLE OF CONTENTS List of Tables ................................................................................................................................. vi List of Musical Examples ............................................................................................................. vii Abstract ............................................................................................................................................x CHAPTER 1: INTRODUCTION: PERCUSSION SINCE THE ROMANTIC PERIOD ..............1 CHAPTER 2: PAUL PRICE AND THE COLLEGIATE PERCUSSION ENSEMBLE .............10 CHAPTER 3: VIVIAN FINE AND CONCERTINO FOR PIANO AND PERCUSSION .............17 CHAPTER 4: ZITA CARNO AND “SEXTET FOR PERCUSSION” .........................................40 CHAPTER 5: GITTA STEINER AND “QUARTET FOR PERCUSSION” ................................65 CHAPTER 6: WOMEN’S ROLES IN WESTERN MUSIC CULTURE AND THE GENDERING OF THE PERCUSSION ENSEMBLE ..................................................................94 APPENDIX: ZITA CARNO INTERVIEW PROPOSAL AND CONSENT LETTERS ............128 References ....................................................................................................................................132 Biographical Sketch .....................................................................................................................138 v LIST OF TABLES Table 4.1: Zita Carno, “Sextet for Percussion,” Movement 1 .......................................................45 Table 4.2: Zita Carno, “Sextet for Percussion,” Movement 2 .......................................................52 Table 4.3: Zita Carno, “Sextet for Percussion,” Movement 3 .......................................................56 vi LIST OF MUSICAL EXAMPLES Example 3.1: Melodic treatment of timpani against cello melody in Divertimento for Violoncello and Percussion mm. 39-45 ............................................................................................................20 Example 3.2: Keyboard percussion’s significant role in the opening of Concertino for Piano and Percussion Ensemble mm.1-7 ........................................................................................................24 Example 3.3 A + B: Alcestis mm. 8-13 compared to Concertino mm. 17-20 ...............................25 Example 3.4: Keyboard texture mm. 44-50 ...................................................................................26 Example 3.5: Featured keyboard moment at Rehearsal D mm. 103-05, reproduced in Finale .....27 Example 3.6: Unison xylophone and marimba scalar passage mm. 198-99 .................................28 Example 3.7: Unison xylophone and marimba passage mm. 261-62 ...........................................28 Example 3.8: Pianistic vibraphone passage mm. 206-08 ..............................................................29 Example 3.9: Inverted retrograde figures mm. 226-37 ..................................................................30 Example 3.10 A + B: Tam-tam (top staff) and timpani (lower staff) interactions ........................30 Example 3.11: Timpani and Piano interaction mm. 136-38 ..........................................................31 Example 3.12: Instrumentation approach consecutively mm. 144-52 ...........................................32 Example 3.13: Mm. 1-2 of the vibraphone line in Price’s manuscript version (A), as compared to the published score (B) ..................................................................................................................34 Example 3.14: Price’s addition of rolled notation to certain vibraphone and marimba notes, in red pencil mm. 223 ...............................................................................................................................35 Example 3.15: Price’s modification of the time signature at m. 143 .............................................36 Example 4.1: “Sextet for Percussion,” Slash Notation in mm. 1-2 ...............................................46 Example 4.2: Snare Drum Dot Notation in mm. 19-20 .................................................................46 Example 4.3: Vibraphone Entrance mm. 5-7 .................................................................................47 Example 4.4: Vibraphone Modulation mm. 40-43 ........................................................................47 Example 4.5 A + B: Timpani Harmony mm. 71-74 versus Vibraphone Harmony mm. 75-79 ....48 vii Example 4.6: Vibraphone Returns to Timpani’s Harmonies mm. 84-87 ......................................48 Example 4.7: Tom-Tom Canon mm. 94-98 ...................................................................................49 Example 4.8: Keyboards mm.110-12 ............................................................................................50 Example 4.9: Finale Reproduction of the Snare Line that is composed as a canon between the Low Tom-Toms, High Tom-Toms, and Timpani ..........................................................................51 Example 4.10: Rolled Pitch Changes and Glissandos on Timpani, Harmonic Instability that ends in C by m. 17 ..................................................................................................................................53 Example 4.11: Snare Drum Playing Specifications .......................................................................53 Example 4.12: Marimba Line Modulation .....................................................................................54 Example 4.13: Snare Drum Dot Notation, m. 58 ...........................................................................55 Example 4.14: B flat tonal center of opening melody in Timpani (top) and Vibraphone (bottom) mm. 27-30 ......................................................................................................................................56 Example 4.15: Hocket Technique and Grand Pause mm. 43-46 ...................................................57 Example 4.16: Tom-Tom Dot Notation m. 56 ...............................................................................58 Example 4.17: Changes that Price made to Steiner’s slash notation .............................................60 Example 4.18: Price’s markings at the tempo change at measure 191 ..........................................61 Example 4.19: Cover pages of individual parts in archive ............................................................64 Example 5.1: Gitta Steiner, “Quartet for Percussion,” mm. 4-9 ....................................................70 Example 5.2: “Quartet for Percussion” mm. 14-15 ......................................................................71 Example 5.3: Example of a TO, Temple Block Rhythm m. 8 .......................................................74 Example 5.4: Entrance of melodic instruments (vibraphone, antique cymbals, and xylophone) at mm. 10-11, notated on the bottom two staves ...............................................................................75 Example 5.5: “Quartet” Temporal place m. 23 ..............................................................................76