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

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82 VITA D. Doran Bugg serves as the Minister of Music and Administrator of the Calvary Conservatory of Music at Calvary Baptist Church in Alexandria, Louisiana. A member of the Rapides Symphony Orchestra, Mr. Bugg has also performed with the Baton Rouge and Waco Symphonies. His career includes teaching both percussion and band on the collegiate, secondary, middle, and elementary levels. A native of Corinth, Mississippi, Mr. Bugg received the Bachelor of Music Education degree from the University of Mississippi in 1984, the Master of Music degree in percussion performance from Baylor University in 1990, and will complete the degree of Doctor of Musical Arts in applied percussion with a minor in orchestral conducting at Louisiana State University in 2003.
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THE ROLE OF TURKISH PERCUSSION IN T
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TABLE OF CONTENTS ACKNOWLEDGMENTS .
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LIST OF FIGURES 1. Turkish bass dru
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ABSTRACT The fascination of eightee
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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
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The trend to incorporate percussion
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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
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and as seen in Figure 6. The novel,
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Figure 7. The tambourine. Reprinted
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to the pianoforte as an optional at
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Figure 8. La Scala seating arrangem
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Early works that precede the use of
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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: 1911 Stravinsky Petrouchka xylo., b
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