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

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group that produced a characteristic tone color through the simultaneous playing of each instrument, reminiscent of their use in military bands. Each Turkish percussion instrument experienced changes in design that resulted in a more independent use of each instrument. Nineteenth-century composers such as Berlioz wrote parts for percussion and timpani integral to the harmonic and textural structure of their orchestral compositions. Percussion instruments have since become a frequent focal point of orchestration. viii
CHAPTER 1 DESCRIPTION AND INTRODUCTION OF THE STUDY Importance of the Study Of all the musical instruments in the standard symphony orchestra, it is those of the percussion section which, by comparison with the others, have been constantly neglected and mistreated by composers and arrangers alike. 1 This study is intended to assist the symphonic percussionist and the conductor in understanding the history and use of percussion instruments, which led to their entry into the late eighteenth-century and early nineteenth-century orchestra. The result offers a concise source of information concerning not only a description of Turkish percussion instruments and their performance, but also the rise and development of these instruments in the orchestra which provided the foundation for the modern expanded orchestral percussion section. Objectives of the Study There are three fundamental objectives of this monograph: 1. To investigate the manner through which composers first utilized Turkish percussion (excluding kettledrums) in the orchestra. 2. To examine the subsequent history of these instruments and the manner in which composers utilized them, leading to their recognition as musical instruments in their own right. 3. To provide a resource for both performers and conductors who seek to recreate authentic performances of music from that era. These objectives were realized through the following chapter outline: Chapter I. Description and Introduction of the Study 1 Edgar B. Gangware, The History and Use of Percussion Instruments in Orchestration, diss. (Evanston: Northwestern University, 1962), ii. 1
Page 1 and 2: 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: ABSTRACT The fascination of eightee
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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