THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND ...

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LIST <strong>OF</strong> TABLES Table Page 1. Definition of Terms ……………………………………………………………………..... 3 iv
LIST <strong>OF</strong> FIGURES 1. Turkish bass drum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 2. Long drum with beaters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 3. Cymbals similar to those used in the Turkish percussion section . . . . . . . . . . . . . . . . . . 14 4. Sistrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 5. Triangle similar to one used in the Turkish percussion section . . . . . . . . . . . . . . . . . . . 17 6. Turkish Crescent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 7. Turkish Tambourine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 8. La Scala seating arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 9. San Carlo seating arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 10. Paris seating arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 11. Iphigenia en Tauride by Gluck (cymbals) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 12. Iphigenia en Tauride by Gluck (triangle) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 13. Die Entführung as dem Serial by Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 14. Symphony No. 100, “Military,” (movement II) by Haydn . . . . . . . . . . . . . . . . . . . . . . . 33 15. “Military” Symphony No. 100 (movement IV) by Haydn . . . . . . . . . . . . . . . . . . . . . . 34 16. Die Ruinen von Athens by Beethoven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 17. Symphony No. 9 (IV) by Beethoven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 18. Overture to L’Italiana in Algeri by Rossini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 19. Overture to Il barbiere di Siviglia by Rossini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 20. Overture to Preciosa by Weber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 21. Modern orchestral bass drum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 22. Symphonie Fantastique by Berlioz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 v
Page 1 and 2: THE ROLE OF TURKISH PERCUSSION IN T
Page 3: TABLE OF CONTENTS ACKNOWLEDGMENTS .
Page 7 and 8: ABSTRACT The fascination of eightee
Page 9 and 10: CHAPTER 1 DESCRIPTION AND INTRODUCT
Page 11 and 12: not addressed in the monograph beca
Page 13 and 14: Before the influence of Turkish ins
Page 15 and 16: The trend to incorporate percussion
Page 17 and 18: Figure 1. Turkish bass drum. Reprin
Page 19 and 20: that was often doubled on the trian
Page 21 and 22: the Turkish word for “cymbalsmith
Page 23 and 24: opinion will be further discussed i
Page 25 and 26: Figure 5. Triangle similar to one u
Page 27 and 28: and as seen in Figure 6. The novel,
Page 29 and 30: Figure 7. The tambourine. Reprinted
Page 31 and 32: to the pianoforte as an optional at
Page 33 and 34: Figure 8. La Scala seating arrangem
Page 35 and 36: Early works that precede the use of
Page 37 and 38: Gluck’s use of cymbals for specia
Page 39 and 40: “stick and switch” passages of
Page 41 and 42: Figure 14. “Military” Symphony
Page 43 and 44: Figure 16. Die Ruinen von Athens by
Page 45 and 46: Figure 17. Symphony No. 9 (movement
Page 47 and 48: As seen in Figure 18 from Rossini
Page 49 and 50: the beater and the ruthe as the tim
Page 51 and 52: Figure 20. Overture to Preciosa by
Page 53 and 54: Figure 21. Modern orchestral bass d
Page 55 and 56:
situations in the life of a young m
Page 57 and 58:
Figure 23. Grande Messe des Morts b
Page 59 and 60:
Figure 24. L’Apprenti-Sorcier by
Page 61 and 62:
Figure 26. Le sacre du printemps by
Page 63 and 64:
it was through the abundant and inn
Page 65 and 66:
color of his composition. He calls
Page 67 and 68:
Smaller triangles were used to achi
Page 69 and 70:
Nikolai Rimsky-Korsakov in his Capr
Page 71 and 72:
Figure 33. Symphony No. 4 (movement
Page 73 and 74:
Figure 34. Scheherazade by Rimsky-K
Page 75 and 76:
The Turkish crescent is only briefl
Page 77 and 78:
the opposite head with a switch mos
Page 79 and 80:
2. With rare exception, percussioni
Page 81 and 82:
Rossini, Gioacchino. Il barbiere di
Page 83 and 84:
Duckles, Vincent H., and Michael A.
Page 85 and 86:
Corkhill, David. “The Unique Func
Page 87 and 88:
APPENDIX CHRONOLOGICAL LISTING OF M
Page 89 and 90:
1911 Stravinsky Petrouchka xylo., b
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THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND ...

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