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

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In his Symphony No. 4 in E Minor, Op. 98 (1886), Johannes Brahms used the triangle both rhythmically and sonorously (Figure 33). In the third movement marked “Allegro giocoso,” the triangle rolls in unison with the high-voiced sections of the orchestra that are answered in alternate measures by lower-voiced instruments. The half-note rhythm scored for tutti orchestra then divides into quarter notes which are played by the woodwinds, brass, and lower strings, fueled by a driving sequence of eighth and sixteenth notes shared by the upper strings, timpani, and triangle. This passage could be played while suspending the instrument in the player’s hand, although mounting the triangle and striking it with two matching beaters may also assist in the execution of this excerpt. Much like its initial use in Turkish music, the tambourine has remained an effective occasional member of the orchestral percussion section. It has been used by nineteenth- century and twentieth-century composers including Wagner (Das Liebesverbot 1834), Berlioz (Roman Carnival 1844), Bizet (Carmen 1875), Peter Ilich Tchaikovsky (Capriccio italien 1880, and Nutcracker Ballet 1892), Rimsky-Korsakov (Scheherazade 1888), and Stravinsky (The Firebird 1910, and Petrouchka 1911). Numerous methods of playing the tambourine allow composers a wide range of possible uses beyond its Turkish role of supplying color. 15 15 Blades, Percussion Instruments and Their History, 385-86; Gangware, The History and Use of Percussion Instruments in Orchestration, 212-14; Peinkofer and Tannigel, Handbook of Percussion Instruments, 100-01. 62
Figure 33. Symphony No. 4 (movement III) by Brahms. Originally Published by Breitkopf & Härtel, Leipzig. Reprinted from score, (New York: Dover Publications, Inc., 1974) 63
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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 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: Nikolai Rimsky-Korsakov in his Capr
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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