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

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Ritchey, Ralph C. “A Study of the Factors Which have Influenced the Evolution of the Orchestra Instrumentation.” Master’s Thesis, Northwestern University. 1941. Sachs, Curt. The History of Musical Instruments. New York: W. W. Norton and Co., 1940. Scholes, Percy A., ed. An Eighteenth-Century Music Tour In Central Europe and the Netherlands. vol. 2, Dr. Burney’s Musical Tours in Europe. London: Oxford University Press, 1959. Stedman, Preston. The Symphony. Englewood Cliffs: Prentice-Hall, Inc., 1979. “Tabourot”. Historic Percussion – A Survey. Austin: The Tactus Press, 1994. ________. Royall Drummes & Martiall Musick. Austin: The Tactus Press, 1993. Tanner, Peter Hyde. “Timpani and Percussion Writing in the Works of Hector Berlioz.” DMA. diss., The Catholic University of America, 1967. Whitwell, David. A Concise History of the Wind Band. Northridge: Winds, 1985. ________. A New History of Wind Music. Evanston: Instrumentalist Co., 1980. ________. Band Music of the French Revolution (1789-1799). Tutzing: Hans Schneider, 1979. ________. Wind Band and Wind Ensemble Literature of the Nineteenth Century. Northridge: Winds, 1982. Articles Akins, Thomas N. “The Use of Percussion In the Wind Bands of Britain in the Eighteenth Century." Percussive Notes (March 1969): 90-94. Bayard, Michael. “Timpani Clinic: The Neo-Janizaries.” Percussive Notes (1987): 35-37. Bowles, Edmund A. “Nineteenth-Century Innovations in the Use and Construction of the Timpani.” Percussive Notes (1982): 6-75. Cirone, Anthony. “Interpreting the Symphonic Percussion Part.” Percussive Notes (October 1995): 52. Clark, Owen. “Percussion In the Opera Orchestra of The 17 th and 18 th Centuries.” Percussive Notes (1966): 11-14. 76
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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 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 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: Duckles, Vincent H., and Michael A.
Page 87 and 88: APPENDIX CHRONOLOGICAL LISTING OF M
Page 89 and 90: 1911 Stravinsky Petrouchka xylo., b
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