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

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7. Following their acceptance into the orchestra, Turkish percussion instruments experienced changes in design that resulted in a less homogeneous, more independent use of these instruments by composers. With the exception of the Turkish crescent, composers began to see the bass drum, cymbals, triangle, and tambourine more autonomously. 8. Especially significant are the contributions of Hector Berlioz to the development and use of percussion instruments by nineteenth-century, twentieth century, and modern-day percussionists and composers alike. In A Treatise Upon Modern Instrumentation and Orchestration, Berlioz devotes more space to the discussion of percussion instruments and their use than any other section of the orchestra. His attack of early nineteenth-century performance practices including the use of the bass drum only as an accent to mark the strong beat of each bar, and the playing by a single performer of both the bass drum and cymbals, helped to create a more aesthetic, less idiomatic perception of these instruments by orchestral composers. It was Berlioz who suggested conservatory instruction for serious percussionists. His literary contributions, innovative use of percussion instruments in his own compositions, and visionary ideas were crucial to the advancement of percussion in the orchestra. 9. The incorporation of Turkish percussion instruments first implemented by orchestral composers in the late eighteenth century and early nineteenth-century is the foundation from which the modern orchestral percussion section evolved. In the years following their acceptance, percussion instruments have in many instances become a focal point of orchestration. Based on this study, this writer suggests the following topics for future research: 1. Further examination regarding the performance practice of playing the bass drum and crash cymbals by one performer is an interesting topic for future study. 70
2. With rare exception, percussionists were considered incompetent and rarely necessary in the orchestra until Berlioz and his contemporaries began writing parts for percussion and timpani integral to the harmonic and textural structure of their compositions. The impact of Hector Berlioz in reshaping the view of how percussion instruments could be utilized in the orchestra also deserves serious examination. 71
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THE ROLE OF TURKISH PERCUSSION IN T
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TABLE OF CONTENTS ACKNOWLEDGMENTS .
Page 5 and 6:
LIST OF FIGURES 1. Turkish bass dru
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ABSTRACT The fascination of eightee
Page 9 and 10:
CHAPTER 1 DESCRIPTION AND INTRODUCT
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not addressed in the monograph beca
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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
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that was often doubled on the trian
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the Turkish word for “cymbalsmith
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opinion will be further discussed i
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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: the opposite head with a switch mos
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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