NORTHWESTERN UNIVERSITY Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960-2009 SUBMITTED TO THE MUSIC SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSIC Field of Percussion By Renee E. Keller EVANSTON, ILLINOIS June 2013 © Copyright by Renee Keller 2013 All Rights Reserved 4 ABSTRACT Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960-2009 Renee E. Keller The purpose of this study was to identify new trends and innovations as regards the orchestral percussion section between the years of 1960-2009. In order identify possible trends this study examined 87 compositions written for orchestra between 1960 and 2009. The necessary historical background identified a number of trends already in use by 1960. Among those were increasing calls for special effects, the introduction and inclusion of the marimba and vibraphone in orchestral music, an increased demand for difficult and important mallet parts, general increases in the size and force of the percussion section, and an increased demand for expanded timpani range and tuning. Scores were examined for those trends as well for new or unusual playing techniques, the prevalence of multi-percussion setups in the orchestra, detail of composer instruction and percussion ensemble in the orchestra. Changing opinions and attitudes regarding percussion which occurred during the 19th century and the first half of the 20th century were also documented. The results indicate that a number of changes took place in orchestral percussion writing from 1960-2009. General findings show increased demands on the percussion sections of today compared to the percussion sections of the past in both number of instruments and players. Also noted was an increase in composition for unpitched instruments (i.e. cymbals, triangles, tam-tams, drums, etc.) in a “pitched” way. Additionally, there was an increased prevalence of “multi-percussion” setups in orchestral ensembles as well as more frequent and unusual stick requests made by composers for the various instruments. Some compositional historical precedents were also documented, most notably the technique of bowing crotale and vibraphone bars. New directions in the composition of timpani parts were also discovered, 5 including calls for extreme ranges of tuning, extensive tuning, necessity of tuning gauges and extended techniques such as the glissando. In the final analysis, this study demonstrated conclusively the increased importance of the percussion section to the orchestra. The study also demonstrated that many recent trends are likely to continue into the future. Conclusions and recommendations for further study were included. 6 TABLE OF CONTENTS ABSTRACT ................................................................................................................................. 4 CHAPTER I. The Changing Role of Percussion From the Early 19th to the Mid 20th Centuries . 8 Introduction .......................................................................................................... 8 The Changing Role of Percussion From the Early 19th to the Mid 20th Centuries 10 II. The Acceptance and Use of Percussion Instruments in the Orchestra During the 19th and Early 20th Centuries .............................................................................. 20 Timpani Literature and History ................................................................ 20 Percussion Literature and History ........................................................... 24 III. Opinions and Attitudes Regarding Percussion During the 19th and Early 20th Centuries ........................................................................................................... 36 IV. Explanation of Case Studies, Format, and Definitions of Terms ......................... 46 Explanation of Case Studies................................................................... 46 Compositions Alphabetically By Composer ............................................ 48 Compositions By Year ............................................................................ 51 Format .................................................................................................... 54 Definitions .............................................................................................. 56 Standard Percussion Battery ...................................................... 56 Standard Mallet Battery .............................................................. 56 Auxiliary/Effect Instruments ......................................................... 57 Standard Latin Battery ................................................................ 57 Other Ethnic/Unusual Instruments .............................................. 57 “Found” Instruments .................................................................... 58 Multi-Percussion ......................................................................... 58 Percussion Ensemble in Orchestra ............................................. 60 Solo Passages ............................................................................ 62 Unusual or Extended Techniques ............................................... 62 Other Explanations ..................................................................... 63 V. Results: The Current State of the Modern Percussion Section ........................... 65 The Standard Percussion Battery ........................................................... 72 Bass Drum .................................................................................. 72 Drums ......................................................................................... 75 Tom-toms ................................................................................... 77 Cymbals ...................................................................................... 79 Tam-tam ..................................................................................... 81 Tambourine ................................................................................ 82 Triangle ....................................................................................... 84 7 The Standard Mallet Battery ................................................................... 84 Vibraphone ................................................................................. 86 Xylophone ................................................................................... 89 Glockenspiel ............................................................................... 90 Marimba ...................................................................................... 91 Chimes ....................................................................................... 93 Crotales ...................................................................................... 95 Bell Plates ................................................................................... 96 Effect Instruments .................................................................................. 96 Frequency of Use ....................................................................... 97 Timpani ................................................................................................ 103 The Standard Latin Battery ................................................................... 108 Frequency of Use ..................................................................... 109 Other Ethnic or Unusual Instruments .................................................... 110 Bells .......................................................................................... 110 Gongs ....................................................................................... 110 Ethnic Drums ............................................................................ 111 Roto-Toms and Boo-Bams ........................................................ 111 Rute .......................................................................................... 112 Steel Drums .............................................................................. 113 Other Ethnic or Unusual Instruments ........................................ 114 “Found” Instruments ............................................................................. 114 Frequency of Use ..................................................................... 114 Multi-Percussion in the Orchestra ......................................................... 116 Percussion Ensemble ........................................................................... 118 VI. Summary and Conclusion ................................................................................ 122 Summary .............................................................................................. 1 2 2 Recommendations ............................................................................... 128 Conclusion ........................................................................................... 1 2 9 BIBLIOGRAPHY ..................................................................................................................... 131 APPENDIX A: COMPOSITION TEMPLATES ......................................................................... 140 APPENDIX B: SPECIAL TECHNIQUES AND REQUESTS .................................................... 312 INDEX ...................................................................................................................................