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

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BIBLIOGRAPHY Musical Scores Beethoven, Ludwig Van. Die Ruinen von Athens. Mineola: Dover Publications, Inc., 1999. ________. Symphony No. 9, Op. 125. New York: Edwin F. Kalmus, 1900z. ________. Symphony No. 9, Op. 125. New York: Dover Publications, Inc., 1976. ________. Wellingtons Seig (“The Battle of Victoria”), Op. 91. New York: Dover Publications, Inc., 1976. Berlioz, Hector. Romeo et Juliette, Op. 17. London: Edition Eulenburg Ltd., 1900z. ________. Symphonie Fantastique, Op. 14. New York: W. W. Norton and Company, 1971. Brahms, Johannes, Symphony No. 4 in E Minor, Op. 98. New York: Dover Publications, Inc., 1974. Debussy, Claude. La Mer. New York: Dover Publications, Inc., 1983. Dukas, Paul. L’Apprenti-Sorcier. As reproduced in Edgar Gangware Jr., “The History and Use of Percussion Instruments in Orchestration.” Ph.D. diss., Northwestern University, 1962. Haydn, Franz Joseph. “Military” Symphony No. 100, G Major. New York: E. F. Kalmus, 1932. Haydn, Franz Joseph. “Military” Symphony No. 100, G Major. New York: Dover Publication, Inc., 1985. Liszt, Franz. Piano Concerto No. 1 in E flat Major. As reproduced in Edgar Gangware Jr., “The History and Use of Percussion Instruments in Orchestration.” Ph.D. diss., Northwestern University, 1962. Mozart, Wolfgang Amadeus. Die Entführung aus dem Serail K. 384: Overture. Leipzig: Ernst Eulenburg, 1900z. ________. Turkish March from Piano Sonata in A Major K. 331. Bryn Mawr: Theodore Presser Company, 1956. Rimsky, Korsakov, Nikolay. Scheherazade. New York: Dover Publications, Inc., 1984. 72
Rossini, Gioacchino. Il barbiere di Siviglia: Overture. Pesaro: Fondazione Rossini, 1989. ________. La Gazza Ladra: Overture. Pesaro: Fondazione Rossini, 1989. ________. L’ Italiana in Algeri: Overture. Pesaro: Fondazione Rossini, 1989. ________. Robert Bruce: Overture. Pesaro: Fondazione Rossini, 1989. Schumann, Robert. “Spring” Symphony No. 1, Op. 38. As reproduced in Edgar Gangware, Jr., “The History and Use of Percussion Instruments in Orchestration.” Ph.D. diss., Northwestern University, 1962. Stravinsky, Igor. Petrouchka. As reproduced in James Blades, Percussion Instruments and Their History. London: Faber and Faber Limited, 1984. ________. Le sacre du printemps. New York: Dover Publications, Inc., 1989. ________. The Firebird. As reproduced in Edgar Gangware, Jr., “The History and Use of Percussion Instruments in Orchestration.” Ph.D. diss., Northwestern University, 1962. ________. The Firebird. New York: Dover Publications, Inc., 1989. Weber, Carl Maria Von. Preciosa: Overture. New York: Dover Publications, Inc., 1986. Books and Dissertations Adato, Joseph, and George Judy. The Percussionist’s Dictionary: Translations, Descriptions and Photographs of Percussion Instruments from Around the World. Melville: Belwin Mills Publishing Corp., 1984. Adkins, H. E. Treatise on the Military Band. London: Boosey and Hawkes, 1931. Arbeau, Thoinot. Orchesography. Translated by Mary Stewart Evans. New York: Dover Publications, Inc., 1967. Beck, John H., ed. Encyclopedia of Percussion. New York: Garland Publishing, Inc., 1995. Benvenga, Nancy. “Timpani and the Timpanist’s Art: Musical and Technical Developments in the Nineteenth and Twentieth Centuries.” Goteborg, Sweden:Gothenburg University, 1979. Berlioz, Hector. A Life of Love and Music: The Memoirs of Hector Berlioz 1803-1865. Translated and Edited by David Cairns. London: The Folio Society, 1969. 73
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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
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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
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
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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: 2. With rare exception, percussioni
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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