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

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Figure 28. Romeo et Juliette by Berlioz. Reprinted from score, (London: Edition Eulenburg Ltd., 1900z) Debussy captured the mystic atmosphere of a dream with the antique cymbals in L’après-midi d’un faune (1894), where he combined them with the flute to play only ten notes. Stravinsky combined two pitched cymbals with a bell (cloche) in Les Noces (The Wedding, 1912). In Le sacre du printemps (1913), he scored antique cymbals with the triangle to play quarter notes as the timpani strikes two separate pitches in an alternating eighth note rhythm. 11 Striking the cymbal near its center (bell) produced a more bell-like sonority. In Figure 29 from La Mer (1905), Claude Debussy included a cymbal part significant to the overall 11 Peinkofer, Handbook of Percussion Instruments, 61,199. 56
color of his composition. He calls for a suspended cymbal in place of the customary pair of cymbals. In addition to climactic crashes, Debussy created new sounds through measured rolls, grace notes, even the scraping of a metal rod against the cymbal to generate a scratching sound. 12 Some cymbal manufacturers today label the instruments into three categories: French, Viennese, and Germanic. Such distinctions, however, did not exist until the modern era. The heavy cymbals used in Turkish music and adapted from the military band into the orchestra in the eighteenth century are best described today as Viennese cymbals. Their plates are slightly saucer-shaped with a central dome or cupola. The thickness of Viennese cymbals allows for both high and low overtones to be heard when they are crashed together. By the Romantic era, an even heavier model gained acceptance, establishing the Germanic sound as we know it today. A French model of cymbals emerged with Berlioz, whose works demanded a shimmering tone suitable for combination with any instrument or group of instruments in the orchestra. Their bright splash of color blended especially well with strings or brass. French cymbals are lightweight and produce an immediate sound upon impact. They have very few sustaining characteristics. Today’s orchestral percussionist employs the use of cymbals from each of these three schools. 13 The evolution of the triangle from its origins in Turkish music was undeniably dramatic. The loosely strung, metal rings attached to its lower, horizontal side were removed, producing a clearer and more brilliant “tingling” sound in place of sustained “jingling.” A 12 Ibid., 210. 13 Leonard A. DiMuzio, “Cymbal Vibrations,” Percussive Notes (1975): 24. 57
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THE ROLE OF TURKISH PERCUSSION IN T
Page 3 and 4:
TABLE OF CONTENTS ACKNOWLEDGMENTS .
Page 5 and 6:
LIST OF FIGURES 1. Turkish bass dru
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: it was through the abundant and inn
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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