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

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23. Grande Messe des Morts by Berlioz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 24. L’Apprenti-Sorcier by Dukas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 25. Le sacre du printemps by Stravinsky (example 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 26. Le sacre du printemps by Stravinsky (example 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 27. Antique Cymbals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 28. Romeo et Juliette by Berlioz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 29. La Mer by Debussy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 30. Symphony No. 1 by Schumann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 31. Piano Concerto No. 1 by Liszt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 32. Scheherazade by Rimsky-Korsakov (triangle) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 33. Symphony No. 4 (III) by Brahms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 34. Scheherazade by Rimsky-Korsakov (tambourine) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 35. Firebird by Stravinsky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 36. Petrouchka by Stravinsky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 vi
ABSTRACT The fascination of eighteenth century Western composers with the Eastern percussion instruments of the Turks was the impetus behind the initial use of percussion instruments in the orchestra. Consequently, the era beginning in the late eighteenth-century when percussion instruments were first included deserves reexamination. The objectives of this monograph include the examination of the manner in which composers first utilized Turkish percussion (excluding kettledrums) in the orchestra. This study then investigates the subsequent history of these instruments and manner in which composers utilized them, leading to their recognition as musical instruments in their own right. The findings of this study provide a resource for both performers and conductors who seek to recreate authentic performances of music from that era. Research methods included the examination of existing primary and largely secondary sources that included musical scores and newspaper articles of the period. The organology of these instruments and their performance practices were studied, aided by iconographical evidence of the instruments and their performance. Salient findings of this study were that the percussion instruments first incorporated into the late eighteenth-century and early nineteenth-century orchestra consisted of the bass drum, cymbals, and triangle. The Turkish crescent and tambourine was also occasionally added. Some of these instruments entered the orchestra with a specialized performance practice. The bass drum, for example, was struck by one hand on the side of the drum’s head with a wooden beater; the other hand struck the opposite head with a switch most often made of twigs, called a ruthe. Orchestral composers such as Haydn, Mozart, and Beethoven were among the first to incorporate Turkish percussion instruments, using them as a homogeneous vii
Page 1 and 2: THE ROLE OF TURKISH PERCUSSION IN T
Page 3 and 4: TABLE OF CONTENTS ACKNOWLEDGMENTS .
Page 5: LIST OF FIGURES 1. Turkish bass dru
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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