Non-traditional instruments in a traditional role:three works for percussion ensemble since 1960

Item Type text; Thesis-Reproduction (electronic)

Authors Reeder, Martha Joy

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.

Download date 04/05/2018 02:24:58

Link to Item http://hdl.handle.net/10150/557382

NON-TRADITIONAL INSTRUMENTS IN A TRADITIONAL ROLE THREE•WORKS FOR PERCUSSION ENSEMBLE SINCE i960

byMartha Joy Reeder

A Thesis Submitted to the Faculty of theSCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

' MASTER OF MUSIC WITH A MAJOR IN MUSIC THEORY

In the Graduate CollegeTHE.UNIVERSITY OF,ART ZONA

1 9 8 0

STATEMENT BY AUTHOR

This thesis has been submitted in partial ful­fillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. -

: Brief quotations from this thesis are allowablewithout special permission, provided that accurate acknowledgment of source is made. Requests for per­mission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the music department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of Scholarship. In all other instances, however, permission must be ob­tained from the author

APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below:

'DkMA (2Nil 1 iamVP f lugr ad. t Lecturer in Music

/ 'OyfA/ Date

ACKNOWLEDGMENT

The author would like to express deepest appreciation to Mr. William Pflugradtthe director of the thesis, for his helpful guidance and numerous sug­gestions during the course of this study.. The author is especially grateful to Mr. Michael Colgrass, Mr. Anthony Cirone and Mr. William Kraft for their gracious and extremely helpful response in correspondence and for their permission to use excerpts from the compositions under consideration'.

Most of all the author would like to thank her hushand, Larry Reeder, and her parents, without whose loyal encouragement and patient assistance this study would not have been possible.

TABLE OF CONTENTS

Page- LIST OF ILLUSTRATIONS . . . . . . . . . . . . . . . vi

ABSTRACT. . . . . . . . . . . . . . . . . . . . . . . x1. INTRODUCTION. . . . . . . . . . . . . . . . , . . . ' 1

Survey and Development of Percussion Instruments . . . . . ... . . . . . . . . . . . 1New Sound Sources For Percussion. . . . . . . . 4Format and Terminology. ... . . . . . . . . . . . . 7

2... WILLIAM KRAFT'S CONCERTO FOR 4PERCUSSION SOLOISTS AND ORCHESTRA . . . . . . ... . . 11

Differential Parameters . . . . . . . . . . 18Cohesive Parameters . . . , . . . . . ■. . . . . 20Parametric Treatment and Relationship . . . . .27Summary . . . . . . . . . . . . . . .. . . , . 28

3• MICHAEL COLGRASS' FANTASY-VARIATIONS. . . . .... . 30Movement One. . , ... . ..... .... . 36. Mo vement Two. . . . ..■ . . . . . . . . . . . . . 40Differential Parameters . . . . . . . ... . . .43Cohesive Parameters . . . . . .. ... . . . . . . 47'Parametric Treatment' and Relationship . .. . . . 49Summary .... . . ... . . . .... . . . . . . . 52

4. ANTHONY CIRONE'S 5 ITEMS. . . . . . . . . . . . . .54Differential Parameters . . . . . . . . . . . . . -58Cohesive Parameters . . . . . . . . . . . . . .69Text. Painting in 5. Items. . . . .. . . . . ■. . . 75.Parametric Treatments and Relationships . . . . 77Summary •. . . . . . . . , . . . . . . . . . . .79

5. SUMMARY AND CONCLUSIONS . . . . ... . , . . . . . . 80Summary . .. . . . . . . . . . . . . . . . . . . 80Conclusions . . . . . ... . . . . . . . . . . . 8l

iv

TABLE OF CONTENTS— Continuedv

. PageSELECTED BIBLIOGRAPHY. . . . , . , . . , . . . . . 84

Books and Articles . . . . . . . . . . . . . - 84Scores . . , . . . . . . . .. . . . . 85Recordings , ........ . . . . . . . . . . . . 86Correspondence .......... 86

LIST OP ILLUSTRATIONS Figure ■

1. Kraft, Concerto, II. Instrumentationand ensemble set-up . . . > . . . .. . . . . 14

2. Kraft, Concerto, Second movement. Generalformal scheme. . . . ,. . . . . * . . . . . . .18.

3. Kraft3 Concerto, Second Movement. ■ Dynamicsas a differential parameter . . . . . . . . 19

4. Kraft, Concerto, Second movement, "Jazz-like" r h y t h m ................................ 20

5. Kraft, Concerto,- Second movement (m. 128-134).Fixed voices and free voices . . . . . . 21

6. Kraft, Concerto, Second movement (m. 1-5).Minor, second as important pitch 'material. . 22

7. Kraft, Concerto, Second, movement.. Dynamicsas a cohesive parameter . . . . , .. . . . 23

8. Kraft, Concerto, Second movement. Texture: as a cohesive parameter . . . . , . . . . . 24

9. Kraft, Concerto, Second movement. Formalsummary . . . . . . . .... . . . . .. . . .. . ". .. . 29

10. Colgrass, Fantasy-Variations. Pitches ofthe solo chromatic drums . . . , . . . . '. 31

11. Colgrass, Fantasy-Variations, FirstMovement. Opening melody in solo drums . . 33

12. Colgrass, Fantasy-Variations. Ensemblediagram and set-up. . . . , . . . . . '. .. . 35

13. Colgrass, Fantasy-Varlatlons, Movement One.Arabesque of opening material, m. 10-11 . . 36

14. Colgrassj Fantasy-VarTations, Movement One.Polyrhythms in movement one, m. 7-8 . . . . 37

■ - vi ' ' ' ' - : .

vii

LIST OF ILLUSTRATIONS— ContinuedFigure , Page15. Colgrass, Fant as y-Var1at ion s, Movement Two.

Polyrhythms in movement two, m . 4. . . . . : 37. 16. Colgrass,' Fantasy-Variations, Movement One.

Transition passage, m. 17 . . . . . . 3817. Colgrass,' Fantasy-VariafIons, Movement One.

New material based on opening, m. 20 . . . . 3818. Colgrass, Fantasy-Varlatiohs,. Movement One.

Transition material, m. 29 .. . . . . . . . . 3919. Colgrass, Farttasy-Varlations, Movement One. ■

General formal .scheme . . . . . .. . ■ 4020. Colgrass, Fantasy-Varlations,- Movement Two.

Opening, m. 1-2 . . . . . . . . . 4l21. Colgrass, Fantasy-Varlations, Movement Two.

Polyrhythms of TB 1 in movement two, m. 11. . 4l22. Colgrass, Fantasy-VarlatIons, Movement Two.

General formal scheme of movement two . . . ' 4223. Colgrass, Fahtasy-Variatlons, Movement One.

Closing cadential material from fA.’(m. 6-7) . . . . . . . ... . . ... . . . . . 43

24. Colgrass, Fantasy-Varlations, Movement One.Important thematic material from ’B.’(m. 22—23) . * .. • . . • . . . . . .. . . .: 44

25. Colgrass, Fantasy-Variations.- Microrhythmictable . . ... . , . . . . . . . . . . . . .- 45

26. Colgrass, Fantasy-Varlations, Movement Two.Use of microrhythmic meters, m. 15-16 . . ' 46

27. Colgrass, Pantasy-VdriatIons, Movement One.The beginning of 'A,’ (m. 1-2) . . . . . . . 50

28. Colgrass, Fantasy-Variations, Movement One.The beginning of ’a ^Y' (m. 9-11) . . . . . . 51

viii

LIST OF ILLUSTRATIONS— Coritinued Figure Page29. Cirone, 5 Items, III. General formal

scheme . . . . . . I , . . . . „■ . . . . 5830. Cirone, 5 Items, III. Alternating textures

of voice and ensemble (m.. 5-11) . . . . . . 5931. Cirone, 5 Items, III. Texture in Section

•' II, Tm. 28-30) . . . .. . . . . ... 6132. Cirone, 5 Items, III. Texture in Section

III, (m. 40-46) . . . . .. .' . , . . . . . . 6233. Cirone, 5 Items, III. Linear interaction

of timbres . . . . -. . . . . . . . . . . . . 643-4. Cirone, 5. Items, III . Importance of IC5

in vocal line (m.,22-24) . . . . . . . . . . 6535. Cirone, 5. Items, III. Section II, first

phrase contour (m. 21-24) . . . . . . . . . 6636. Cirone, 5 Items, III. Section II, last

phrase contour (m. 26-29). . . . . . . . . 6737. Cirone, 5. Items, III. Durational

differentiation between Section I and •Section II (m. 16-21) . . . . . . . . . . . . . 68

38. Cirone, 5 Items, III. Use of intervals . . . . 6939* Cirone, 5. Items, III. Free metric

organization (m. 1-3) . • • • • •■ .. •' • • • 7.040. Cirone, 5 Items, III. Duplets as the

smallest division of the beat(m. 13-15) • . 7141. Cirone, 5. Items, III . Imitation of

, triplet figure (m. 21-22) . .. . . . .. . . •. . 7242.. Cirone, 5 Items, III. Dynamics— shape , . . . . 74

ix

LIST OF ILLUSTRATIONS— Continued Figure Page43. Cirone, 5. Items, III. Text painting

in shapes (m. 37-39) • . ................. 7644. Cirone, 5 Items, III. A musical question .

(m. 521 r. . , . . . . . . . . , . . . . . 77

ABSTRACT

Non-Traditional Instruments in a Traditional - Role: Three Works for Percussion Ensemble Since i960deals with the percussion ensemble' as a valid means of musical expression. Through three contemporary com­posers— ‘•William Kraft, Michael Coigrass, and Anthony Cirone— the percussion ensemble is seen as an adaptable media with a wide palette of sounds and combinations yet to be explored. Each composer in his own work is intent . on writing extended ideas for the percussion. Each composer chooses a pre-established role or structure in which to exhibit the talents of the percussion ensemble.

In the Kraft Concerto for Percussion Soloists and Orchestra (1964), the percussion adapts well to the role of solo concertante in a concerto. In Michael Colgrass v Rantasy-Yarlations (1971), the percussion rises to the demands of an intricate free variation. Anthony Cirone uses the wide range of color and timbre available to the percussion ensemble to set his text in 5 Items (1976).

These works demonstrate the flexibility of the percussion ensemble and the infinite possibilities available to the composer, performer and the listener.

x

CHAPTER 1

INTRODUCTION

Survey-and Development of Percussion InstrumentsPercussion music was confined almost strictly to

the orchestra until the twentieth century. The function of the percussion within the orchestra (with the exclu­sion of the tonal function of the.timpani) was either peripheral— to add to the magisterial setting of certain occasions, or merely supportive— to. add color and accent to the overall palette of the orchestra.

Berlioz was the first composer to begin to ex­plore the gamut of percussion instruments. "His ’dream1 ensemble of 467 instrumentalists included 53 percussion players .' . . .11 (Berlioz scores are very specific as to tuning instructions and size and hardness of mallets.)

Keyboard percussion instruments such as the glockenspiel and xylophone were popular on the Continent in the late Romantic era. The Indonesian gamelan or­chestra introduced the gong and instruments indigenous

1. James Blades.. Percussion Instruments and Their History. 2nd' ed., London: Faber and FaberLimited, 1975, p. 28l.

■ - ; . 2 to Latin America such as claves, castanets and guiroscame to be in great demand by many composers, Nicolas Slonimsky first mentions percussion in Music Since 1900 in reference to a performance of Carlos Chavez' El Fuego Nueyo (1928). "The action. . . . unfolds around an Aztec pyramid, making use of primitive Mexican in­struments of percussion in the score,1,2

New attitudes toward the arts were developing around the world. In Italy, Filippo Tommaso Marinetti championed the cause of Futurism. Futurism was a glori­fication of all that was modern and a repudiation of the past, particularly art of the past. The manifesto of Futurism was published on the front page of "the re^ spected Paris newspaper, Le Figaro, February 20, 1909.n^It exalted youth, violence, and conflict and hailed the emergence of the tenth Muse— Speed. Futurism found a musical leader in Luigi Russolo. His manifesto was en­titled The Art of Noises (L'arte del rumori), Russolo states that "we must break out of this restricted circle of pure sounds and conquer the infinite variety of sounds, Futurists have profoundly enjoyed the harmonies of the

2. Nicolas Slonimsky. Music Since' '1900.,: 4thed., New York: Charles Scribner ’ s Sons, 1971» P, 480.,

, 3• Joshua C. Taylor. Futurism. New York; The Museum Of Modern Art, 1961, p. 9 .

3great masters . . .Now we have had enough. We delightmuch more in creating ideal combinations of the noise ofstreet cars, internal combustion engines, horse-drawncarriages, and boisterous crowds than in hearing again,

4for example, the Sroica or Pastoral Symphony . . . ."What was the result of this manifesto? It was the "art of noises." Russolo even invented his own machine in- strument, the "Intonarumori," to produce the ideal "noise-sound."

The composer, George Anthiel, conceived what some percussionists recognize as the first percussion ensem­ble within the influence of Futurism. His Ballet Mechanlque includes the whirring of an airplane engine, two doorbells, and four pianolas (played occasionally in a percussive manner with the palm of the hand). Other works exploring the noise-like and rhythmic emphasis of the percussion were Honneger*s Pacific 231 (1924),Chavez1 HP (1927.), Prokofiev ’ s Dance of Steel (1927),John Alen Carpenterts Skyscrapers (1927), and Mossolov’s Symphony of Machines; Steel Foundry (1928).

4. Rose Trillo Clough. Futurism, The Story Of A Modern Art Movement— A New Appraisal. New York: The Polygot Press, 1961, p* 125. :

5. Little is known about the "Intonarumori" or "Noise-organ" as it is called. Photographs show it to be a series of large boxes, with protruding funnels and levers.

Amadeo Roldan, regarded' as one of the founders of the - modern school of Cuban music, was the first com­poser to compose specifically for a percussion- ensemble in 1930 with his Ritmicas. Ionisation by.Edgard Varese (1931) was also composed specifically for percussion ensemble repertoire. On March 6, 1933, Ionisation was performed for the first time "with Nicolas Slonimsky . . . conducting an, ensemble of 14 professional compos­ers and innate rhythmicians manning 4l- multifarious in­struments, among them .Carlos Salzedo playing the Chinese blocks, Henry Cowell pounding the tone clusters on the piano, Paul Creston striking the gongs, and William Schumann pulling the cord of the lion's roar."7

New Sound Sources For PercussionHenry Cowell was a music publisher on the West

Coast in the 1930's.• He began to publish the .series New Music Editions, which featured percussion works. Several percussionists and composers began to work together with Cowell in the late . 1930.'s in order to

6. Larry Vanlandingham, "The Percussion Ensemble: .1930-1945," in Percussionist 10 (Soring 1972) p . 7.4..

7. Slonimsky, p. 562-63. .

5exchange ideas about percussion writing and techniques. "These musicians gave demonstrations, lectures, and per­formances concerned with percussion music. The group included John Cage,-Lou Harrison, Johanna M. Beya, Ray Green, Gerald Strang,- William. Russell and a few others."® Modern dance was gaining a widespread interest during this time also. Percussion instruments were often used 'for accompaniment in dance studios. This offered a new means of expression for the composer and eventually this form of expression expanded into larger and musically in­dependent compositions, exhibiting merit on the concert. stage as well as in the dance studio. During this period an important figure.for the percussion ensemble is Lou Harrison. Harrison was fascinated with new sound sources such as automobile brake drums, lengths of plumber's . pipes and galvanized washtubs. One of his works calls for the chime from an old clock, and the strings of a double bass struck with a timpani stick below the bridge. Most composers writing for percussion during this time experimented with an infinite number of new sound sources. A trend in the opposite direction began in the 1940's. Instead of the extreme experimentalism, composers turned

8. Vanlandingham, May 1963, p. 8?•

■ ' ' . . . ■ ' 6

to more traditional sound sources— the keyboard per­cussion instruments',' the wide variety of drums avail­able and other more "legitimate" instruments. In 1942 with Toccata "Chavez returns to the use of standardpercussion exclusively, combining orchestral instruments

qwith;those indigenous to Latin America," while abandon­ing the sirens and special effects of Ionisation. Alan Hovhaness, being strongly influenced by Eastern music, also returned to more conventional instrumentation with October Mountain in 1942, shortly after he had destroyed over 1000 earlier compositions in the Western style.

Music suffered somewhat of a lack of interest during the years of World War II, much as in other arts, because there was little public support financially or otherwise. Percussion music lay virtually dormant un­til the years following the war. At this time the move­ment to bring the percussion ensemble back into the lime­light was led by educators such as Paul Price (who was at the time a professor at the University of Illinois). The new trend in percussion ensemble music was an assimilatory technique combining the experimental and "radical" sound sources of composers like Edgard Varese and John Cabe with the more conventional techniques

9. Vanlandingham, May 1963, p. 89.

7and instrumentation of composers like Alan Hoyhaness and Carlos Chavez.

Today the percussion ensemble is a valuable source of inspiration for the composer. It still offers new and exciting, sound sources and a variety, of roles yet to be explored by the percussionist. Some of the basic forms and processes of composition are still used, The modification of some basic formal structures to fit the specifications of the percussion ensemble.offer new challenges to the percussionist, the composer and the . listener. ■

- Format and TerminologyThree new roles for percussionists will be

discussed in the subsequent chapters;1). The role of soloists in a concerto— William

Kraft! s Concerto for A Percussion Soloist s. and Orehestra (1964)'.

2) The role of virtuoso soloist in an intricate .. . chamber work— Michael Colgrass'Pantasy-

Varlatlons (1971).3) The subtleness of the percussion ensemble

as accompanist in a song cycles— Anthony Cirone ’ s. 5_ Items (19.76) ,

' The standard use of pre-established procedures will be compared and contrasted with the composer * s use of the process as applied to the percussion ensemble. The question of whether the non-traditional combination of pitched and non-pitched instruments in equally .

8important roles can.conform to the same formal elements and pre-established structures as employed by strictly pitched instruments, will be examined,

' The extensive use of all percussion, pitched and non-pitched alike, has presented some problems in the perception of the works discussed here. An approach to the music through a study of the individual parameters involved and their shaping forces in the music, will lend a better comprehension to the music examined.

• The analyses will adhere to the principles set forth in Parametric Analysis of Contemporary Musical .Form' by Mary Hannah Wennerstrom.^^ The work of Dr,Wennerstrom has been most inspiring in the organization • and methods used in the study. The following format and glossary of terms is drawn directly from (though not : completely) the portion of the first chapter entitled Procedures of Analysis.

The basic format will be:1) The general scheme of the composition.2) A study of the various parameters:

10. Mary Hannah Wennerstrom. Parametric Analysis of Contemporary Musical Form, Unpublished Doctoral Dissertation, Indiana University, 1 9 7 2 ( Ann Arbor: University Micro-films, 1972).'

11. Ibid., p. 25.-26

9

a) those- which create sectionalization (differential parameters)«

b ) those which create inter-, and intra^ sectional connections (cohesive

■ parameters),3) A discussion of parametric treatment

and relationships,4). The success or failure of the' percussion

ensemble to. conform to the. pre- established form or procedure,

5) A summary of results, working from large to small, involving relationships at all levels,

The following terms will be used freely;Element — A specific class within a parameter, represent­

ing a comprehensive configuration such as sonority (in the pitch parameter), rhythmic patterns, etc.,

Pitch - single tones, intervals, interval sets., melodic motives, chords, linear pitch extension (lines), interval class (a subcategory of pitch, this has been included to indicate the significance of a particular interval within a composition')

Dynamics - the scale of loudness levels,Duration - tempo, rhythmic patterns or motives, "rate

of activity" (successive density)rests or silence, types of durational re 1 atlonshi'ps; pulse v.- no pulse, active vs, sustained, discontinuous vs continuous.

Texture - number of parts or strata (simultaneous ' density), spacing, relationships of parts, coalescence - "homophonic".(chords), or separation - "polyphonic,"

Timbre - instrumental sounds and effects, registers, various combinations of sounds (ore hestration) methods of attack (touch, styles of playing).

10-Parametric treatments and relationships:

Return - restatement of a part of an important parameter from a previous . section;, the important parameter - or element recurs while a specific event may be changed.

Superposition ~ the occurrence of more than one important parameter or element simultaneously (stratifi­cation) . . .

Interlock -the overlapping and interpenetration of two or more parameters or elements, ...

Gradation - the gradual change of emphasis from one parameter or. element to another.

CHAPTER 2

V WILLIAM KRAFT’SCONCERTO FOR 4 PERCUSSION SOLOISTS AND ORCHESTRA

William Kraft (born September 6, 1923).studied composition with Henry Cowell and graduated from Columbia University in 1951 • He has received several fellowships for advanced study such as the Anton Deidl fellowship, the Huntington Hartford fellowship, and the Guggenheim fellowship. Mr. Kraft has been timpanist and principle percussionist for the Los Angeles Philharmonic since 1955- He was assistant conductor for the Los Angeles Philharmonic from 1969 until 1972, Mr. Kraft founded the Los Angeles Percussion Ensemble and Chamber Players in 1956 and still serves as its music director» This group has brought percussion music to the attention of the American public with many definitive recordings such as the recording of Ballet Mechanique oh the Urania label . and the recording of Chavez’ Toccata and Ginaster a ’s Cantata Para America Magica on the Columbia label,Mr. Kraft was a member of the faculty at the University of Southern California from 19ol until 1964 and is now a member, of the faculty at the California Institute for

11

12

the Arts/ Some of Mr. Kraft’s works, include Nonet for Brass And Percussion (1958), Contextures: Riots -Decade ’60 (1967)> and Concerto Grosso (1961),.

The Concerto Bor 4_ .Percussion Soloists' And Orchestra was completed in 1964 during a fellowship at the Huntington Hartford Foundation. Kraft states that "inherent in the decision to write a concerto was the challenge of how to fill a traditional idea using non^ traditional instruments."1 Percussion writing through-, out the nineteenth century denied percussionists vir­tuoso exposure or the use of extended, ideas, Kraft challenges this idea in the Concerto. He denies the traditional nineteenth-century percussion idiom and employs extended ideas that are .convincingly expressive: he does not translate an original composition into per­cussion idioms, but uses the percussion as the original compositional inspiration.

The Concerto was premiered March 10 3 1966 by the. Los Angeles - Percussion Ensemble with the Los Angeles Philharmonic. The orchestration consists, of woodwinds in pairs, four horns, two trumpets, two trombones, tuba,

1. William Kraft. Notes on London recording CS 6613, Concerto for 4_ Percussion Soloists and Orchestra. '

piano, celeste, harp and strings. Each of the four soloists has a primary percussion instrument, but secondary ones are utilized as well. The specific in­struments employed by each soloist and a diagram of a possible ensemble set-up are outlined in Figure.1.

14ENSEMBLE SET-UP4 Timpani5 Graduated wood drums Tambourine

Percussion I

Percussion II Chimes5 Graduated membranic drums6 Suspended Antique Cymblas— pitched Glockenspiel

Percussion III Bass drum Vibraphone 5 Graduated metals Small Bell with Clapper

Percussion IV Xylophone Snare drum Triangle Glockenspiel

a-

Fig. 1 - Kraft, Concerto, II.Instrumentation and ensemble set-up.

15

In this three-movement concerto <, the 'first move­ment is the.mogt lyrical. The second movement is. the fastest with jazz-like, rhythmic figures that dominate the entire movement. The third movement begins with a timpani solo,, which constitutes the"thematic basis for twelve variations'. The second, movement explores the concerted principle-most dramatically and thus will be examined in detail here. The movement begins with, an orchestral exposition, followed by a solo exposition of the "same" material (non-pitched instruments are involved in the solo exposition). The solo group and the orches­tra participate in the development of thematic material, The recapitulation is barely recognizable because it is presented in reverse order.

The ideas of the concerted principle are at work- in this movement. There is some dissention as to whether the word r concerto’ comes from the "Latin "concertar.e.,"; "to'fight, to contend" , or from theLatin "conserere," "to join together."2 In the Baroque manner, one or several instruments (as in the concerto grosso) from the instrumental ensemble play a role that is said to be "coneertante." This word derives from the

2. Willi Apel. Harvard Dictionary of Music. 2nd ed. Cambridge: Harvard University Press, 1974, p. 192.

v' ■ ■ 1 6 :Latin " concert are. Therefore, the concerto presents a natural state of rivalry between the concertante instru­ments or between the solo instrument(s) and the ensemble, Kraft has taken the principle solo group in the Concerto and opposed, in the orchestral ensemble, several instru­ments (as in the flute-bassoon duets) and even complete groups (woodwinds, brass), which are also concertante, thus enhancing the principle of "competition" in the Concerto. ..

The importance of percussion in this movement extends beyond the parameter of rhythm or duration. The composer discloses the fact that the "entire second move­ment is based on a contrapuntal rhythmic plan that was first conceived for the percussion so as to conform to their idiomatic requirements. This same material is then translated to pitches and given in the orchestra. Therefore, every parametric treatment and relationship in the movement is based on the original material con­ceived for the percussion. This is important, since in performance (and in traditional compositional practice) the orchestra presents the material first. In retro­spect, every treatment and relationship in the orchestral

3. William Kraft. Notes, OS 6613 LondonRecords.

17exposition of the material can indeed be traced to those originally conceived by the composer and set up in the actual percussion exposition.

It is necessary to examine the structural aspects of the percussion solo section in order to fully under­stand the corresponding- section • in,the orchestra— the opening bars of the movement. The four "voices" of the percussion ensemble fit into a rhythmic plan: two voices(Percussion II and Percussion IV). are "fixed,n employing recurring patterns throughout; and two (Percussion I and Percussion III), are free, following no consistent pat­terns. The "fixed" voices follow a regular rhythmic flow, while the free voices are written to give the feel­ing of complete independence and improvisation. In the orchestrated version of this rhythmic relationship (translated to pitches), these roles are carried out by the woodwinds (fixed) and brass (free) sections.

The general formal scheme of this movement is described in Figure 2.

18

'A' 'B* 'CBrass and Percussion Full Orchestra (Coda)Woodwinds Alone and Percussion

Pig. 2 - Kraft, Concerto, Second movement.General formal scheme.

Differential Parameters Pitch: The lack of pitch itself becomes a formal

determinant as pitched sections are alternated witn non­pitched sections in this movement. The 'B ' section (all the percussion in this section is non-pitched) is delin­eated from its surrounding sections by this very factor— the lack of pitch.

Dynamics: Although dynamics are more cohesivethan differential in this movement, they serve a unique purpose that distinctly marks off each section. Section ’A 1 ends with a triple forte chord. There is a sudden drop in dynamics to mezzo forte at the beginning of sec­tion ’B .’ This mezzo forte is being executed by a snare drum played with wire brushes and accompanied by muted strings; however, this dynamic marking is conservative when compared with the mezzo forte of other percussion instruments or even another type of articulation. The end of sectionTB ’ and the beginning of section !A-' is marked by a crescendo in the percussion parts and a fortissimo entrance by full orchestra at measure 216.

19

SECTION ’A f SECTION f B ’

TUTTI ORCHESTRA SNARE DRUM With Muted Strings

(struck with brushes)

Pig. 3 - Kraft, Concerto, Second movement.Dynamics as a differential parameter.

Texture: The differential function of texture inthis movement is evident as one listens to the change from Section 1A ’ to Section TB.f The last measure of Section 'A ' (see Pig. 3) is the peak of thickest den­sity in the movement up to this point. Section fB ’begins with solo snare drumm an immediate reduction ofthe simultaneous density. This effect is disguised somewhat by the con sordino chord in the string section. The return of ’A1’ is also signaled by an increase in si­multaneous density. The four-part texture of the solo percussion is suddenly increased to full orchestra. This effect is strengthened by the four-part chord in the brass that crescendos from piano to fortissimo in the four measures preceding ’A-*-.’

Cohesive Parameters Duration.- Duration is the most singularly impor­

tant parameter in the movement. The rhythmic structure remains the same throughout the entire movement. The snare drum’s ’’jazz-like" rhythm at measure 73 (section ’B 1) is duplicated by the flute in the opening bars of the movement. See Figure 4.

Fig. 4 - Kraft, Concerto, Second movement."Jazz-like" rhythm.

The rhythms of the graduated bongos at the second phrase of Section ’B ’ are retained in the bassoon part in Section ’A ’— again in the second phrase. These are the only rhythmic elements that are imitated in the pitched sections. These parallels represent the "fixed" voices of the original conception. The free improvisatory voices are more difficult to emulate and in the translation from percussion to orchestra Kraft states that the freely improvised sections

21become "reduced to punctuations in the brass."3 The fixed voices are written to imply a regular rhythmic flow. This flow remains constant throughout the move­ment .

The free voices in this movement are not aleatoric or totally improvised. They are notated to avoid any feeling of regular rhythmic flow, and there­fore they sound improvisatory in nature (refer to Figure 5).

Fig. 5 - Kraft, Concerto, Second movement (m. 128-134). Fixed voices and free voices.

The constancy of the important rhythmic motives provides a strong sense of unity in this movement that is recog­nizable upon first hearing.

Pitch: Pitch serves as a cohesive parameter inthis movement. Every pitch set in the movement begins

4. William Kraft. Notes on London recording CS 6613, Concerto For 4_ Percussion Soloists and Orchestra.

in the same way (0-1-2). All important melodic ideas center around the minor second (a good example of this can be found in Figure 6). The fB' section is non-pitched percussion. Thus, the minor second does not pervade the entire movement. However, the melodic usage of the minor second does create unity through its return in the TA1? section.

I

Fig. 6 - Kraft, Concerto, Second movement (m. 1-5).Minor second as important pitch material.

Dynamics: Dynamics operate in this movement ina cohesive manner. They give unity to the movement by forming a giant dynamic arch form. The TA ’ section crescendos gradually from a piano to a triple forte. The TB f section is an entity within itself, remaining on a stable dynamic level. The ’A^T section begins fortissimo and ends piano (see Figure 7).

23

fff

ff

mf

mp

PP

Fig. 7 - Kraft, Concerto, Second movement.Dynamics as a cohesive parameter.

Texture; Texture performs as a cohesive parameter in this movement in much the same way as pitch and dynamics. The movement opens with flutes in unison. With the introduction of each of the remaining four phrases, the simultaneous density thickens. The bassoons are added in the second phrase (see Figure 8). Clarinets enter at phrase three. Phrase four introduces trumpets, trombones and tuba, and interjections from the horns permeate phrase five. This device causes a building of tension, which is suspended throughout section TB.T At the return of 'A^' the full orchestra enters. The second phrase marks the loss of the string section. The wood­winds are omitted at phrase three with the exception of

SECTION: 'A' 'B' •A1,

PHRASE; 1 2 3 4 5 1 2 3 4 5

I P QN E U Str.S R AT Ob. C R Ob. Ob.R U TU Hrn. S E Hrn.M S TE Tb. Tb. I Tb.N 0T Trmb. Trmb. N Trmb.S

Tr. Tr. Tr.Cl. Cl. Cl. Cl. Cl.

Bsn. Bsn. Bsn. Bsn. Bsn. Bsn. Bsn. Bsn. Bsn.FI. FI. FI. FI. FI. FI. FI. FI. FI. FI.

Fig. 8 - Kraft, Concerto, Second movement.Texture as a cohesive parameter.

; 25of flute and bassoon. Phrase four Is completely solo flute and bassoon, corresponding to the instrumentation of phrase two in section ’A.' Phrase five is solo pic­colo accompanied by snare, drum played with brushes.This completes the textural arch and releases the tension built in section 'A.?

1 ' ■ ■ 26In the parameter of texture there are certain

rhythmic associations that should be noted. In writing the percussion parts, Kraft states that he chose the instrumentation "so as to provide clarity, within the four part texture. The translation of these parts to the orchestra is facilitated by means of the rhythmic associations already set up (fixed voices and free voices): the rhythmic interactions in section ’A ’ arethe same as rhythmic interactions in section ’B.1 Both the fixed voices and the free voices are represented in both sections.

. Timbre: Timbre acts as a cohesive parameter inthis movement sfnce the instruments, .in section ’A* actually imitates the timbres of the percussion instru­ments . Section ’B ' begins with solo snare drum played with brushes. This creates a very light, airy sound and sensation.. This is correspondent to the solo flute at the beginning of section 'A.’ Graduated bongos are added at phrase two. The timbre is. imitated by the has- . soons in section ’A ’ at phrase two.. Graduated wood blocks and temple blocks are added in. the third, phrase. Similarly, phrase three in section ’A * introduces the clarinets, which; emulate the higher pitch of the wood •. blocks as compared:to the bongos. Phrase four introduces

5. Ibid. ' : '

27triangle and three graduated cymbals. These mixed timbres are represented in section 'Af by the mixed timbres of trumpets, trombones and tuba— all muted. The fifth phrase in section rB ' is aborted after two measures in favor of the following improvisatory section. Each section is therefore related in timbral density. Thus, it can be assumed that each large section (although texturally very different) is a timbral return or repeat of the preceding section. This establishes a timbral unity throughout.

Parametric Treatment and RelationshipReturn: Return operates within three parameters

in this movement. .The pitch parameter is the most ob­vious . The 1A *' section is pitched and focuses around the minor second, the second section is non-pitched, and the third section marks the return of the pitch struc­ture established in the ’A ’ section. This return creates unity.

Less obvious, but just as important structurally, is the timbral return. The pitched sections (’A ’ and 'A^') of this movement are translated from the percus­sion parts, which are the basis for this movement. The timbres of the percussion instruments are imitated in the orchestral instruments. Therefore, each return of

28the thematic material is a timbral return, either in exact reproduction of the timbre (section ’A-’ as com­pared to section ’A ’), or in imitation of the timbre (section 'B? as compared to ’A ’ and ’A-'-*).

The return of the rhythmic or durational para­meter creates the strongest unity within the entire move­ment. The basic rhythmic plan remains the same through­out, even though other parameters change drastically.

Summary, The Kraft Concerto succeeded in conforming to

the principle of the Concerto. This lies in the concep­tion of the work as a total .percussion work, not as one adapted for percussion. The relationships established in the writing for the percussion quartet dictate' the relationships that will be heard in the orchestra. Underlying the entire movement is the rivalry between the concertante instruments (the solo percussion) and the.' orchestra, creating a healthy "competition" in this movement.

A large arch is evident in this movement and is indicated by several parametric relationships. There is a dynamic arch (refer to Figure 7) moving from piano to triple forte and back to piano. The pitch parameter indicates an arch with the return of pitched material in

29the last section. There is a timbral arch as well, with timbres returning through exact repetition or imitation. Finally threr is a textural arch (refer to Figure 8).The stratified texture is suspended throughout the ’B 1 section and then is released in ’A-’ (see Figure 9).

'A'Brassand

Woodwinds

Five sections which are each a repetition of the basic rhythmic pattern. With the addition of new instruments, a layering process is ac­complished with each phrase.

'B'Alone

Five sections correspondingfollowed by an improvisatory section.

’A1’Full Orchestra

and Percussion

Five sections that represent the reversal of the sections in section TAf (instead of a ’•’layering" effect, there is a "peeling off" effect).

material in section ’B.’

Fig. 9 - Kraft, Concerto, Second movement.Formal summary.

The movement as a whole conveys the synthesisof all parameters involved into a complete and satisfyinglistening experience.

CHAPTER 3

MICHAEL COLGRASS' FANTASY-VARIATIONS

Michael Colgrass (born April 22, 1932) studied at the University of Illinois with Paul Price and Eugene Weigel, graduating with a Bachelor of Music in 1956* He also studied with Lukas Foss and Darius Milhaud at Tanglewood. He is the recipient of two Guggenheim fellowships (1964 and 1968) and two Rockefeller grants— . one for study of theatre arts at Piccolo Teatro di Milano, and one for study of advanced physical training for actors at the Polish Theatre Laboratory, Some of his works Include: Divertimento For _8 Drums and StringOrchestra (i960). Rhapsodic Fantasy for fifteen drums and orchestra (1965)> As Quiet As (1966), Light Spirit for flute, viola, guitar and percussion (1963), and Deja Vu for percussion quartet and orchestra (1977)•Deja Vu was awarded a Pulitzer Prize in 1978.

The work under consideration here is Fantasy- Variations for eight chromatic drums and percussion sextet (I96I). When asked about the circumstances . surrounding the writing of Fantasy-Variations, Mr. Colgrass commented that "It happens I just started writ­ing this work when I received a phone call from the

31Metropolitan Opera Company Orchestra asking me if I wanted to be timpanist— no audition required. I had 24 hours to make a decision— which in effect was: didI want to be a timpanist or composer? . . . I anguished over that one and finally decided in favor of composing, and then went ahead to write Fantasy-Variations. So, this work is for me a beginning of an important sort.

from Paul Price and the Manhattan Percussion Ensemble for a premiere at Carnegie ReOital Hall in the fall of 1961 with Mr. Colgrass as soloist. On several other occasions Mr. Colgrass has written for tuned drums: Variations For Four Drums and Viola (1957), Divertimento For 8_ Drums and String Orchestra (i960) and Chamber Music For Four Drums and String Quartet (1954). The pitches of the chromatic drums are shown in Figure 10.

Fig. 10 - Colgrass, Fantasy-Variations.Pitches of the solo chromatic drums.

They do not change throughout the piece and are notatedin the third line C-clef to avoid ledger lines. These

1. Michael Colgrass. Personal communication to this author, July 8, 1978.

Fantasy-Variations was written on a commission

32are the actual pitches the drums must achieve, not justa relative facsimile. Mr, Colgrass says of his devotionto the percussion media, "I simply wanted something toplay that was decent, since we percussionists . . . had

2a very limited repertoire."In' parallel with' the goals, of William Kraft in

the Concerto, Mr. Colgrass wanted to write extended ideas for; the percussion and to use them in a lyricalway. "If I were born again•I would like to be a violin­ist, I seem to have that nature as a musician. But here I was, a percussionist with a lyricist's propensity, so I ended up writing flowing (hopefully) lines for drums!"^

.The spirit, behind the conception of the work is Baroque, according to the composer. "Vlvaldiesque— light, humorful, brief. You may note that if you sing the opening line of the 8 drums it has a kind of Vivaldiconcerto fluffiness to it . . . . The idea of varia­tion. in Pantasy-Variations - deals with this melody (see Figure 11.), being varied in the subsequent movement with traditional variational processes such as augmentation and diminution. Variation does not operate here in the

2. Michael Colgrass. Personal communication to this author, July 8, '1978.

3. Ibid.. 4. ' Ibid.

33

jnf

Fig. 11 - Colgrass, Fantasy-Variations, First Movement. Opening melody in solo drums.

traditional understanding of a theme and variation form, however. The variation process in Fantasy-Variations is a type of "free variation" process. The word "free" is used to show sharp contrast with previous types of "structured" variations. A "free" variation is not a mere "stretching" of the traditional variation form.Nelson explains that motivic development in free varia­tion is related to traditional motivic development in classical sonata forms but is derived in a much freer way. These varied motives usually "represent modified versions of figures in the theme, being formed from theoriginal figures through extensive alterations of rhythm,

5tempo, and dynamics."Colgrass says of Fantasy-Variations: "The word

"fantasy" is my way of getting out of any strict handling

5. Robert U. Nelson. The Technique of Variation (Berkeley and Los Angeles: University of California Press,1962) p. 26.

■ ■' : • • ■ ■ ■ ■ . : ■ .■ 34of the variation idea— I wanted to be free to go any direction I wished." Fantasy-Variations is a four move­ment work. The parametric relationships that are estab­lished in' the first movement become the varied elements in the composition. Even within the first movement, there is a free and varied treatment of the opening material. •. The second movement is a character variation of the first. There are drastic changes in metric structure, texture and timbre. The third movement is an enlargement upon material originating in the second half of the first movement. Movement four combines materials from both the "theme” and other ”variations" in order to heighten the climax of the.composition.Pantasy-Variations involves both pitched and non-pitched instruments. The complete instrumentation is illustrated in Figure 12.

.6. Michael Colgrass. Personal communication to this author, -July 8, 1978.

35

Player 1

Player 2

Player 3

Player 4

Player 5

Player 6

ENSEMBLE SET-UPGlockenspiel (sounds 15va)High pitched triangle Small xylophone (sounds 8va)3 graduated wood blocksMedium triangle CelesteSizzle cymbal (with rivets)High tambourine (but not small)BongosBongosVibraphone (with slow motor adjustment) Medium tambourinePair 16" Marimba Timbales Chimes

crash cymbals

Chimes3 graduated cowbells (muffled)4 Timpani (2-28", 1-25", and 1-23")2 triangles (medium and low)Finger cymbals (suspended on music rack) Concert bass drum (34" x 14")

-r-t- Ik

aan o o

“o 5

•t

Fig. 12 - Colgrass, Fantasy-Variations.Ensemble diagram and set-up.

36The first movement will be examined here in order

to discover any patterns or parametric events that would merit variation in subsequent movements; then, the sec­ond movement will be discussed both as an entity within itself and in relationship to the first movement. The second movement employs metric modulation (a device introduced and developed by Elliot Carter), as well as ColgrassT ,rtransplanting" of motivic contour and rhythmic patterns into new contexts.

important rhythmic patterns and pitch contours of Fantasy-Variations (see Figure 11). The chromatic drums dominate this opening. The glockenspiel and celeste introduce a transition passage in measure 7.The "bell-like" timbre (later adding other "bell-like" instruments) is retained in all transitory passages in this movement. Measure 10 brings the first "arabesque" of the opening material (see Figure 13).

Movement OneThe opening measures introduce many of the

5

Fig. 13- Colgrass, Fantasy-Variations, Movement One. Arabesque of opening material, m. 10-11.

There are an abundance of polyrhythms In this section (see Figure 14): these same polyrhythms become thebasis for metric reorganization in the second movement (see Figure 15).

5 ----1 | — 5 1 -i i 51 1■*>

> i4* a- ^ J --y------

f . ^ J 3 - 4 ^ 7 --------L — ^ --- —

----------------- — ^ 0--------

— = —

*f «eis..JrbL . 0--Z---“---*4=-" U -""fcT J=bC-r~w .

Fig. 14 - Colgrass, Fantasy-Variations, Movement One. Polyrhythms in movement one, m. 7-8.

T O j " t

■----------3 ---------- m------3 --------- ,

r : ^ ,

—rubato —

Fig. 15 - Colgrass, Fantasy-Variations, Movement Two. Polyrhythms in movement two, m. 4.

38Measure 17 Is the beginning of another transitory passage, again characterized by the use of celeste and glockenspiel (see Figure 16).

Fig.16 - Colgrass, Fantasy-Variations, Movement One. Transition passage, m. 17.

The solo entry into measure 20 introduces a new section,based on fragments of the opening material (see Figure17) .

^ M

p nf p

Fig.17 - Colgrass, Fantasy-Variations, Movement One.New material based on opening, m. 20.

Measure 29 is another transitory passage demonstratingthe same instrumentation as before, this time addingtriangle and finger cymbal. (See Figure 18.)

39

Bells- poc o rit.

P P -Celeste

V ibe

motor on *•/Solo

poco ntChim es

vt f PPlet ring

Pig. 18 - Colgrass, Fantasy-Variations, Movement One. Transition material, m. 29.

The last portion of the movement combines materials usedin all parts of the piece, juxtaposing one fragment uponanother. The general formal scheme is outlined belowin Figure 19.

40A (m. 1-6) Tr. (m. 7-10) A1 (m. 10-17)solo chromatic drums present thematic material

glockenspiel and celeste

chromatic drums embellish opening material

Tr. (m. 17-19) B (m. 20-28) Tr. (m. 29)add vibraphone to instrumentation of first transition

cadential fragment from ’A 1 becomes main thematic material

add chimes, triangle and finger cymbals

(m. 30-38) Tr. (m. 39-43) Coda (m. 44-55)material of f B 1 is varied

same "bell-like" instrumentation

use of materials from TA T and rB f

Fig.19 - Colgrass, Fantasy-Variations, Movement One.General formal scheme.

Movement Two The opening of the second movement of Fantasy-

Variations reveals a rhythmic content and contour ofpitch that strongly resembles the opening of the first movement (this material is displayed with a vibraphone- chime duet: the transitory function of the "bell-like" instruments has changed in this movement). The rhythms of 1A 1 are augmented and slightly alterted. The pitch contour remains the same, although the pitches are altered (see Figure 20).

41

v e i l e d a n d s o f t*=69 * Vibe hard varn

xrp\v/ slow motorChimes [hard varnsj

let both parts ring

Fig. 20 - Colgrass, Fantasy-Variations, Movement Two. Opening, m. 1-2.

The second section (beginning at m. 11) introduces the polyrhythms of * B T from movement one. These poly­rhythms are the basis for metric modulations throughout this section, which render quite a free and improvisatory impression (see Figure 21).

Freely

Solo

Fig. 21 - Colgrass, Fantasy-Variations, Movement Two.Polyrhythms of TB T in movement two, m. 11.

At the height of this section (m. 27), a very strongrhythm appears ( ). On closer examination itcan be found that this rhythm is an augmented retrograde

42of another familiar rhythm that first appeared in measure one of movement one ( J T 3 | ). After the climax there is a transition that is facilitated by a series of metric modulations that return to the rhythmic structure of ’A.’ There is a difference in the TA ’ of the closing section of the second movement and the ’A ’ of the first movement. This version of ’A T is augmented. It is twice as slow. The closing cadenza is a variant of the cadential material in measure six of the first movement. The last measure of the closing section reveals a slightly altered form of the cadential material from ’A ’— measure one ( ) — in diminution. Thethree part dimension of the movement is shown below inFigure 22.SECTION I SECTION II(m. 1-10) (m. 11-29)rhythmic content quintuplet figuresand pitch contour from 1B T of movementof ’A ’ in movement one introduce metricone, expressed with modulations.chimes and vibes.a second statementin the chromaticdrums.

TR. (m. 30-38) CLOSING SECTION (m. 39-44)more metric modulation metric modulation stopsserves as a type of at this point. Thematicfmodulationf back to material from ’A,’ movement'A ’ material for one, is clearly stated.closing section.

Fig. 22 - Colgrass, Fantasy-Variations, Movement Two. General formal scheme of movement two.

43Differential Parameters

Duration; All of the rhythmic patterns that are used in the first movement of Pantasy-Variations are presented in TA T of fA1 ’ of that movement. More compli­cated ramifications of these patterns are to be found throughout the entire movement, and throughout the entire composition. Exclusive use of isolated fragments of original material becomes an important differential factor in the composition. These isolated fragments are treated as original material, which in turn generates an abundance of material that becomes an entity within itself. Such is the case in the ’B1 section of movement one. The whole section is based on the closing cadential material of the ’A 1 section (see Figures 23 and 24).

Solo 4—t-f

Fig. 23 - Colgrass, Fantasy-Variations, Movement One • Closing cadential material from 1 A.T(m. 6-7)

44

inSolo

limp, j)

Baas Drum

Fig. 24 - Colgrass, Fantasy-Variations3 Movement One.Important thematic material from fB.T (m. 22-23)

In the second movement, the metric modulations are isolated within the second section. Since there is no definite organization of pitch material or keys, the rhythmic structure serves in much the same way as a modulation in a tonal piece. It is necessary to under­stand the composer's concept of organization in relation to meter: "The notation for rhythmic modulation in thiswork is. based on the assumption that all odd, or brack­eted groupings, e . g «— 3— * , »— 4— ' , «— 5— 1 etc ., aretense by nature because they are against the basic metrical unit of a given bar. When this conducted unit is allowed to "fall away" the odd group can "float out" freely, that is, without tension and one or more of these odd group units can become the new basic metrical unit.

45To emphasize the difference between this rhythmic feel­ing and all other changes in time which are similar in feeling but not the same (i.e., accelerando, ritardando, meno and piu mosso, con moto, etc.), dotted bar lines, triangular and star-like note heads and "microrhythmic" meter signatures are employed."7 (See Figure 25).

d 1/2

J J 2/4

1 1 i 3/6J J 4/8

ik i i A 5/10

i n i a i 6/12

J J J J J J J 7/14

r m r r -M 8/16

11 i 1 i i l 111 9/18

Fig. 25 - Colgrass, Fantasy-Variations. Microrhythmic table.

7. Michael Colgrass. Fantasy-Variations (New York: Music For Percussion, 1973).

46Each meter in the table is equivalent to any other meter in the table. These microrhythmic meter signa­tures are simply a number of ways in which Colgrass divides a certain time span. An irregular grouping that is "against the beat" in one measure, becomes the beat in the next measure. (See Figure 26).

J*92 »■ — 23Q ——-a tempo but moving

Celeste

Solo

Fig. 26 - Colgrass, Fantasy-Variations, Movement Two.Use of microrhythmic meters, m. 15-16.

Texture and Timbre; Discrete delineations in texture and timbre are the most effective differential factors in the first movement of Fantasy-Variations.The solo chromatic drums dominate the texture of the 1A f section with their distinct rhythms; their timbre penetrates the ensemble by virtue of the fact that they

47are two dynamic levels louder (p— mf). The Intervening •transition sections scored for a "bell-like" sound are more complex rhythmically, usually employing polyrhythms. This creates a sharp contrast with the rhythmic associa­tions of the surrounding sections, which are structured imitatively around the rhythms of the solo chromatic drums. . .

Cohesive.Parameters Pitch; The solo chromatic drums are limited to

eight pitches. If ordered in the closest possible aggre­gate, they would read: c#, d, eb a d, f, g13, a ---

Q]-1-2-3-4^5-^ . The ensemble makes use of all twelve pitches freely with no discernable order. However, the •composer shows a predilection for collection of major and minor seconds' (IC2 and IC1) in Vertical sonorities (measure 10, celeste, movement one; measure 55> vibra­phone.and sole drums, movement one; measure 7, vibra­phone, movement : two; measure 44, vibraphone and chimes, movement two). These "sonorities" are generally found in cadence situations and create a unity in this free variation form through a retention of something familiar.

.Rhythm: Rhythm functions primarily as a differen­tial parameter in Fantasy-Variations. However, the

48return of familiar rhythmic patterns creates a unity in the whole. This cohesive parameter functions on two levels:

1) Within the movement it functions in a recapitulatory fashion, helping to form

• an arch or a return of original materials.2) Between separate movements, return of

original material functions much in the same way as thematic material in a rondo:it assures the listener of formal structure.

. Dynamics: . In the first two movements of Fahtasy-'Variations 3. dynamics function as a cohesive para­meter. Both movements begin on a pianissimo level. At the climax of each movement, there is a progression to fortissimo, and a prompt return to pianissimo.

Texture and Timbre: Texture and timbre serve aseffective delineators in the first movement, but in the second movement, they act as cohesive parameters. Themovement opens with an expression of the ’A' theme ina chime and vibraphone duet (see Figure 20). In the first movement, the main function of these instruments ,is transitory. Here the instruments interact equally withthe solo instrument. There is a constancy of timbre throughout the movement. The "bell-like" timbre pervades this movement..

49Parametric Treatment and Relationship

' RepetitionRepetition is very important in Pantasy-Yariations. Exact repetition is rarely found. The composer constantly alters pitch, rhythm, contour and length of the material.. However disguised the repetition may be, it is discernable upon closer exami­nation of other elements. In this composition, repeti­tion usually divides the music into smaller units, creating distinct sectionalizatlon. Compare Figures 27 and 285 looking closely at the solo part. Although the ’-A1 * version is different in many ways, it is definitely a repetition that becomes a landmark in the formal structure.

50

J= 120v/ metal]

motor off !__w/ med. vamj

uaU- T f |w/ wool covered woodw/ yarn

$

TriAfWf w/ metall ^ b» b?

= P

-r-

Fig. 27 - Colgrass, Fantasy-Variations, Movement One. The beginning of 'A ,’ (m. 1-2).

51

cut— 30 I i' S r - -CaW*/L.p.. r.__ P—

=— ^3 —

---!--- i— — 1— — —

---”/| motor on")

4----------------

pSob -----i,--- |--- ,TJ: 1fit*:-;- :.---- A-- -4-f-Sc-4;------- — zz —= nf = — pf ------ F~

V = -4----------------

2 - -------r4---------------

^ ---------------

Fig. 28 - Colgrass, Fantasy-Variations, Movement One.The beginning of TA^T1 (ml 9-11).

Motivic Treatment; Motivic treatment in this work is infinitely varied,(for an example see Figure 13). Colgrass uses mutation of original rhythmic patterns (compare Figures 14 and 15) in both inter-and intra-sectional relationships. He employs repetition in different roles: in the first movement the "bell-like,T figures are tran­sitional (see Figures 16 and 18); in the second movement they permeate the entire movement. Colgrass uses

52fragmentation of original material to generate new- material (see Figure 17).

Imitation of pitch contour is used throughout the piece (see Figures 13, 14, 15, 17 and 20). Because of augmentation in phrases (see Figure 20), expanded rep etition of a phrase is also common. The opening of the second, movement expands the ’A ’ material from the six bars of the first movement, to ten measures. Fantasy- Variations is basically molded from the thematic

' ■ ' imaterial presented in the 1A ! and ’A ? sections of the first movement.

SummaryThe Fantasy-Variations are based on a minimal

amount of musical ideas that .allow for. infinite possibi­lities within the confines of free variation.

Cohesive parameters are more apparent than differential parameters. Each movement is differenti­ated from the other by contrasting treatment of the thematic material. The character of the transitory pas­sages in the first movement (Figure 16) becomes the per­meating character of the second movement (see Figure 20.)

Repetition has an important function as a parametric treatment because of the constant use of original material throughout the work (see Figures 27 and 28). Motivic treatment is especially important

' : • : . \ ' \ .• ' : ' ‘ 53because of specific use of isolated fragments that become entities within themselves.

F an t a s y-V ar i at ion s is. an - intricate chamber work, requiring a virtuoso performance from the soloist and from the entire ensemble. Mr. Colgrass is one of the few composers to have achieved this degree of elevation for the percussion ensemble as a whole, and for the percussionist as a virtuoso soloist.

CHAPTER 4

ANTHONY CIRONE’S 5 ITEMS

Anthony Cirone was born in Jersey City, New Jersey on November 8, 1941. He received a B.S. and M.S. degree from Juilliard School of Music.- During that time he studied composition with Vincent Persichetti. Cirone states that Persichetti ’’has been a great in­fluence in my writing.

Also at Juilliard, Cirone studied with the famed percussionist, Saul Goodman. Most of his compo­sitional efforts have been in the field of percussion.

After.his graduation from Juilliard in 1965, Cirone became a percussionist with the San Francisco Symphony and holds the post of Associate Professor of Music at San Jose State University in California.

Some compositions by Cirone include Symphony #1 For Percussion (1971)s Triptych for percussion quartet (1971), A Sacred Mass For Chorus And Percussion (1977), and Assimilation for percussion sextet(1971).

1, Anthony J. Cirone.. Personal . communication to this author. May 15, 1978.

' - : ' 55The composition for consideration here is

5 Items, written for a concert at San Jose State University on April 30, 1976.. The text for 5_ Items was written by Lou Harrison, another faculty member at San Jose State University; the "five" items are actually an extraction from a group of nineteen poems by Lou Harrison. The text had a great influence on the style in which 5 Items was composed. Cirone says, "I felt the poetry so close to Harrison’s music that I "borrowed" some of his compositional techniques . . . I tried new compositional•techniques for the first time. Cirone incorporates the use of automobile brake drums and the Aftlean thumb piano (Mbira), which are common techniques of Lou Harrison.3 The melodic importance of indefinitely pitched instruments, due to gradation in pitch, becomes formally significant (this is a technique of Lou Harrison). This would refer specifically to tom-toms and temple blocks in this composition. Even these sound sources are capable of producing melodic impli­cations because the composer was very much concerned that percussive timbre be graduated in pitch so as to exert a distinguishable melodic implication.

2. Ibid. •3. Lou Harrison is associated with such sounds

as those vibrating from galvanized washtubs, lengthsof plumber’s pipes and glass bowls, to name a few, .

- ■ : ... , 565 Items is scored for soprano and percussion

quintet. All of the instruments used are from the stan­dard percussion battery with the exception of suspended brake drums and the Mbira„

The 5 Items correspond to movements and are asfollows:

I. At The Pinnacles II. The Triple Refrain at Yan Kuan Pass—

After Wang Wei III. Spring In Nak Yang IV. (Un-named)V. To A Gikuyu Musician ,Apel defines a song cycle as "a group of related

songs designed to form a mu sical.entity.Such song cycles as the Schubert Win.terreise (1827) and the Schumann Dichterllebe (1840), brought the song cycle into promi­nence. One of the most outstanding characteristics to emerge from this art form was the importance of theaccompaniment. The piano part was an intricate part ofthe work— -painting out the text in numerous ways. It can be assumed that the accompaniment in any effective song cycle would fulfill these same duties. The percussion ensemble heightens the possibilities for text painting by increasing the timbres and colors available.

4. Willi Apel. ' Harvard Dictionary of Music.2nd ed. Cambridge: Harvard University Press, 1974,p. 795. ' :

57In 5, Items the musical setting of each movement

is largely dictated by the poem.. Even the form is dic­tated in this manner. More often than not, each new thought is introduced by a change in the percussion accompaniment before the singer expresses the text. "Spring In Nak Yang" is representative of the entire work in its graphic setting of the text and will be examined here in detail.

"Spring In Nak Yang" is uniquely separated from the rest of the work, and particularly interesting because of its free metric tendencies. It is scored for soprano, vibraphone, orchestra bells, finger cymbal, triangle, suspended cymbal, gong, five temple blocks, and five wood blocks. The movement is divided formally into three parts through manipulation of pitch materials, (focus on selected pitch materials),.textural changes, and durational changes.. The three part division in the movement is apparently created by distinct differences in relationships' between the soloist and the ensemble (see Figure 29).

58

I. J = 60 (m. 1-20)very freevocalist vs. ensemble

II. (m. 20-40) ensemble fades voice over ensemble— finally only voice

III. (m. 41-52)voice over ensemble— only voice

Fig. 29 - Cirone, 5 Items, III. General formal scheme.

Differential ParametersTexture; Texture is one of the most apparent

differential factors functioning in both inter- and/or intrasectional capacities in this movement. In Section P. there is a continual alternation between the voice and the ensemble. This provides a contrast within the section in terms of simultaneous density. Measure 5 through measure 11 is a good example of this alternating process (see Figure 30).

59

measure 1110

voice

bells

vibraphone

traps

temple blocks v v a v ywoodblocks

sustained line trilloscillation between tones

<• mm — — single tonesRising and falling of all the above indicate pitch contour.

Fig. 30 - Cirone, 5_ Items, III.Alternating textures of voice and ensemble (m. 5-11).

60In Section II, Cirone uses the voice and ensem­

ble as integral parts of the whole. It is as if the voice part of Section I were superimposed over the en­semble parts. Textural relationships are predominantly linear. Each part contributes a small portion of the overall mosaic. Because of the free nature of the met­rical structure in this movement ( J * 60, all notesare to be played approximately within the measure), at­tack density is not completely predictable. Vertical sonorities that occur become coincidences as a result of linear interaction. This gives a very spontaneous effect and this technique is used throughout the movement, with one exception. In measure 33, Cirone indicates a "chord" that is to be given a definite simultaneous attack. The main function of this chord is one of effect and color in portrayal of the text, "afloat in air." The sustained chord gives a floating sensation.

In Section III the ensemble is subservient to the vocalist (in Section II the ensemble and vocalist create an integrated structure). The individualistic nature of each percussionist's part in Section II merges into an ever-surging and fading mass of sound that gradually fades away, leaving the vocalist to conclude the movement. Figure 31 illustrates the texture of Section II. Section III, in comparison, is much more static and predictable (refer to Figure 32).

» ne-iAL i e k t t i s ^

e s i l s c L _____ f l . .f . ^, LEAkI _ , "** . ,, S-fceerlLt fc-4. IHGr ii«J <*C

--—L----;----- -ZL--------- -L-------v ibraph one "C* - “f 1

tr a p s.n 4 4 ______ _ cq --- ... 1----- ^........ ....... ... .. — ... — ..... r n . . ....

0 • ' ^temple b lo c k s

C t i r \ A —'. j --------- . ------------1_____£) ........

... l. i --------.......................... ---------- . , i t .r--/i % k T i f^ood blo-crTS

- £ x _ r n ..1 ■ _................................ e

u ...

Pig. 31 - Cirone, 5. Items, III.Texture in Section II, (m, 28-30).

'■U& S tfA tc t. LUXJV^ ilu-VSiCC 0>Ar4i6'Ce'*. o f Crff»46.

f —J455t

MO — —f C 6 f -To OTPsk-reC -r» 60

T rUM-Eto W WAND

Tc*J>s

It.'tnl, fifctks

IdeaJ /cc(C<

Fig. 32 - Cirone, 5. Items, III.Texture in Section III, (m. 40-46).

63Timbre: Timbre is. an obvious differential pa- ,

rameter in this, movement. The alternation between voice and ensemble in Section I, the cooperation of voice and ensemble in Section II, and the predominance of voice over ensemble in Section III, are all-important delin­eating factors. Figure 33 illustrates the linear inter­actions of the voice with the accompanying ensemble.Only in Section III, does it appear that the ensemble is truly an "accompaniment."

64

SECTION I. (Voice alternating with ensemble) voice -> ^

X. / X. /ensemble """"

SECTION II. (Voice interacting with ensemble) voice _ _ _ __

ensemble

SECTION III. (Voice over ensemble)

U V V X./ 'ensemble

general flowing line of voice general flowing line of ensemble

Fig. 33- Cirone, 5. Items, III.Linear interaction of timbres.

65Pitch: Pitch serves as a differential arbiter

between the three sections of this movement. In the first section there is a free use of all intervals ex­cept IC5, with an extensive use of IC1. Section II introduces IC5 almost immediately. Although I d is still the predominant interval, IC5 occurs almost as frequently (IC1 occurs 14 times; IC5 occurs 11 times). Because of its exclusion from Section I, and its important motivic use in Section II (especially in the voice part), it overshadows I d in its significance, even though it is used somewhat fewer times. Notice in Figure 3 the impor­tance of IC5 in the shaping of the vocal line.

Fig. 34 - Cirone, 5. Items, III.Importance of IC5 in vocal line (m. 22-24).

In Section III 105 is not important, except for a reference back to it at the very end of the movement.

66Section II is distinguished not only by the use

of a particular interval but by contoural inversion of the first phrase and last phrase of the section. This "question and answer" structure presents a type of "musical frame." The first phrase of Section II forms an upward contour (see Figure 35) which is answered by the downward contour of the last phrase (see Figure36).

UAL 9

Fig. 35 - Cirone, 5. Items, III.Section II, first phrase contour (m. 21-24).

Fig. 36 - Cirone, 5 Items, III.Section II, last phrase contour (m. 26-29).

Duration: The degrees of successive densityalong with tempo indications are elements of durational control at work in this movement. Measures 16 through 20 demonstrate a decrease of successive density that overlaps with Section II. At this point (see Figure 37) there is an immediate increase of successive density. Section II ends with a ritardando, marking the end of the section, followed by an r a tempor marking, beginning Section III.

68

\JE*V "SoPf M A L U t t

j a rc&dfE

SECTION II

f6Mi_ SCMfRE

4,v* hes

Fig. 37 - Cirone, 5. Items, III.Durational differentiation between Section I and Section II (m. 16-21).

69Cohesive Parameters

Pitch: There are only three pitched instrumentsinvolved in "Spring In Nak Yang:" the voice, the orches­tra bells, and the vibraphone. A motivic analysis of the set structure of every phrase involving pitch reveals that every set in the piece begins with IC1; 12 of the 18 sets begin with 0-1-2; 8 of these begin 0-1-2-3.Thus, IC1 serves as a cohesive element in the pitch parameter. Figure ]8 shows frequency of use of specific intervals in "Spring In Nak Yang."

Section Interval Times UsedI. IC1 nine

IC2 fiveIC3 fiveIC6 fourIC4 two

II. IC1 fourteenIC5 elevenIC2 nineIC6 eightIC4 eightIC3 six

III. IC1 fourIC3 fourIC2 threeIC5 twoIC4 oneIC6 one

Fig. 38 - Cirone, 5_ Items, III. Use of intervals.

70As Figure 38 illustrates, there is a free use of

all interval classes except for IC5. In the second section, the introduction of IC5 increases the inter- vallic possibilities, since the original pitch material is retained also. However, IC1 is still predominant in use.

Another way of achieving formal coherence through pitch is demonstrated by the final reference back to IC5 at the end of the movement. This is a reminder of earlier pitch material and brings the composition into a balanced relationship.

Duration. Duration establishes certain links in this movement. A closer look will be taken here at Cirone's use of proportional notation. The basic concept is that of time equals space. The notes are placed within the measure spatially to indicate the time of their execution. This is illustrated in Figure 39.

• ~LO VJEICY FREEm. SPRirvlGr W VArk? A u _ tsio rt££ A t g < 0 £ £ P u /H e O

AfPRrrtiM-reLW vuii'urri 'fA e MeASo&g

Fig. 39 - Cirone, 5_ Items, III.Free metric organization (m. 1-3).

71The Tc#r Is to be played somewhere close to the begin­ning of the measure. The eighth-note triplet should be­gin so that the last note will be the beginning of the next measure. Why use this sort of notation? The end effect would admittedly be hard to notate in strict notation, but even harder to read and almost impossible to execute correctly in a performance. The notation Cirone employs allows the performer a certain freedom within the limitation of the measure. This free metri­cal structure alone lends unity to the movement as a whole. The effect achieved is one of semi-improvisation.

Within sections certain rhythmic patterns create coherence. In Section I, the use of duplets as the smallest division of the beat in the vocal line, has a strong influence on the melodic shape of the line (see Figure 40).

S 'l lU .

Fig. 40 - Cirone, 5 Items, III.Duplets as the smallest division of the beat (m. 13-15).

In Section II, the use of the triplet becomes very important in shaping the melodic lines, not only in the vocal line, but in the other parts, also. There

72is imitation of this triplet pattern between the orchestra bells and the voice in measures 21 and 22. (see Figure 4l).

Fig. 41 - Cirone, 5. Items, III.Imitation of triplet figure (m. 21-22).

Texture: In Section II, an intra-sectional co­herence is achieved. The parts interact on an almost equal level as opposed to the ’’voice vs. ensemble" texture of the first section. This becomes apparent almost immediately. There is a contoural and rhythmic imitation between the orchestra bells and the voice part (see Figure 4l) at the beginning of Section II.The element of alternation still functions in a more limited sense; therefore, it serves to reinforce the integrated structure.

Dynamics: Dynamics are primarily cohesive inthis movement. The basic motion throughout is from soft

like” ending is also manifest in the dynamics (the lack of accompaniment, higher pitch level, etc., also con­tribute to this question mark). Figure 42 shows all the dynamic movement lending itself to one basic shape, except for a small surprise at the end.

74SECTION I .pp (m. 1-4) p (m. 5-8) mf (m.9) p (m. 10-16) pp (m. 17-20)

SECTION II.p (m. 20-22) mp (m. 22) mf (m. 23) sub. p (m. 23)

sub. p (m. 23) mp (m. 25) p (m. 26) pp (m. 2?)

m. 2m m m

mm m m

SECTION III.mf (m. 45-48) p (m. 49-51) mp (m. 52)

Fig. 42 - Cirone, Items, III. Dynamics— shape.

. ; 75Text Painting in- 5. Items

The text of this movement makes all three sec­tions accessible as an entire unit. The movement is organized according to the text: it becomes a gradual­ly evolving process in which each parameter and element cooperate together in order to supply the text— text painting. If the vocalist were to sing nonsense syl­lables, the form would still be delineated by apparent contrasts in pitch, texture and other parameters; however, the accessibility of the macro-structure would suffer considerably, especially in the understanding of Cirone’s eoloristic use of the percussion instruments. After the ensemble sets a mood in the first three meas­ures , the poem begins. The vocal line is bound to the text. On the work fglimmer’ in measure 6, the soprano moves from a slow to a fast trill much in the same way that light plays upon objects in response to a gust of wind. On the word ’twit terf in measures 7 and 8, the vocalist performs a combination trill-glissando that re­sembles some sort of bird call (supposedly, the 'yellow nightingale's'). In response to the text "In the fireplace some fire still lingers," there,.'is a silence, as if the fire has gone out, followed by a scrape on the cymbal at a dynamic level of piano— possibly an unexpected crackle, a pianissimo trill on the vibraphone

76— perhaps the fading glow of the fire as it dies, and a trill on the temple blocks with brushes, resembling the sizzling of the fire. In measure 33, the only "chord" indicated by the composer to be sounded simultaneously, occurs on the word 'air.' The vocal line ascends (on the word 'afloat') to the top note of the sonority. The bells are to be played with hard rubber mallets (brass mallets would cancel the effect) and the vibraphone is to be played with yarn mallets. All of this gives the illusion of the words in the text, "I see light winged seeds afloat in air." In measures 37-38 (see Figure 43), the shape of the line resembles an eyebrow at the text "curving away like eyebrows."

Fig. 43 - Cirone, 5_ Items, III.Text painting in shapes (m. 37-39).

At the end of the movement, the question "Have you seen my love?" is a musical question, also left unanswered. Throughout the movement, vocal lines have alternated with the ensemble. At this point, there is a question from the vocalist, but no answer from the

77ensemble. The dynamic contour (see Figure 42) and the pitch contour also deny the expected ending and leave the listener "up In the air" (refer to Figure 44).

Fig. 44 - Cirone, 5. Items, III.A musical question (m. 52).

The freely moving parts of the ensemble, inter­acting in a seemingly unpredictable manner could be equated with the unpredictable movements and sounds of the outside.

It seems that the percussion ensemble is partic­ularly suited for the role of accompanist. The coloris- tic possibilities are infinite and in the hands of a skilled artist, the percussion ensemble is well equipped to meet the challenge of any text.

Parametric Treatments and RelationshipsReturn: Return operates basically within the

pitch parameter. The pitch material operative in Section I returns in Section III. As mentioned before, Sections I and III employ all interval classes except

. 78IC5. There is also a return of simpler rhythmic patterns in the vocal line as compared with Section II.

Gradation and Interlock: This movement graduallyshifts focus from one parameter to another. . Section I concentrates primarily on the alternation of voice and ensemble, creating an intra-sectional contrast and focus on the textures produced by these combinations. Section IT focuses on the imitation of pitch material and rhythmic patterns, However, the alternation of voice and ensemble is still operative, thus interlocking the two sections, Section III introduces a timbral change.It is as if the two preceding sections have merged to create this block of sound in the ensemble.

Superposition: There are two levels of activityapparent throughout this movement. The vocal line is more static than the ensemble. In Section I this is very apparent because of the alternation of the two. In Section II, the vocal line is superposed over the ensemble.' Even,though they interact, they are basically independent. Section III converts the essentially poly­phonic texture of the ensemble part into a homogenous sound— the vocal line exists on a separate level.

79Summary

This movement achieves form through severalparameters and elements. Delineation of sections is a result of degrees of successive density (duration parameter), changes in scoring (timbre parameter), contrasts of simultaneous density (texture parameter), and controlled use of intervallic sets (pitch parameter). The use of IC1 pervades the entire movement. Cohesive elements provide a strong formal framework. The overall free metric structure (time = space) lends a unity to the whole. The text serves to organize materials of all parameters. There is a basic motion of dynamics from

primarily of pitch material, gradation of different parameters, and superposition of textures. Return of pitch material is combined with contrasts in timbre.

The foremost shaping force in this movement is the text. Every parameter at work in the voice part and in the ensemble is subservient to the text. The percussion ensemble is successful in the role of accompanist because of its adaptability to the role.

soft to loud to softTreatment of the parameters includes return

CHAPTER 5

' SUMMARY AND: CONCLUSIONS

SummaryThe understanding of contemporary music,

.especially when it involves some of the unusual sound sources of the percussion ensemble, often seems to evade the listener. The percussion ensemble has been criticized as only "making noise” at times. It has also been highly praised as being the ensemble of the future. . This study was undertaken to study, as objec­tively as possible,' three compositions that present different aspects of contemporary percussion music. Each work demonstrates the employment of traditionally oriented and pre-established roles in the new context of the percussion ensemble. The aim of this study was to ascertain from these works, whether the non-. traditional combination of pitched and non-pitched instruments in equally important roles can conform to the same formal elements and pre-established roles as employed by strictly pitched instruments.

Since the contemporary percussion idiom does not confine itself to common practice harmonic usage or strict adherence to traditional forms of that

: ' .80 .■ .

period, a different approach was taken with, the analyses„ In order to determine form in each piece, each parameter was examined within the composition. The function of these were determined, as to whether they were differen­tial (dividing the work into distinct sections) or cohesive (bringing unity to the whole). These findings reveal the form of each piece and specific information as to how form is achieved.

Conclusions. Form in these works for percussion is not totally

dependent upon pitched or non-pitched material. Pitch sometimes has an important formal function, as in Cirone’s 5. Items, 'Spring In Nak Yang (each section used different pitch material), but other parameters exhibit strong control over the form also.

One of the most important functioning parameters in these works is timbre, and with timbre, texture.There are infinite possibilities available to the per­cussion ensemble. Timbre can function very effectively in the percussion ensemble as a differential parameter as it does in the first movement of the Colgrass Fan'tasy- Vari'atlons (the transitional sections all have the same characteristic "bell-like" sound, marking a change in formal structure). It can also function as a cohesive

82parameter as it does in the .second movement of the Kraft Concerto (the timhral imitation of the percussion quartet in the orchestra initiates a timhral return in all sec­tions of the work 1. In the same way, texture can act as a cohesive or differential parameter by retaining or contrasting the rhythmic associations brought about by the interactions of the varied timbres.

The parameter of rhythm is innately an important part of the percussion ensemble. In the Cclgrass Fantasy—Varlatiohs. repetition of rhythms creates both unity (through, retention of familiar material), and divi­sion (repeated fragments of one section generate an entirely different section).

Dynamics play an important role in creating form in these works. In the second movement of the Kraft Concerto there is a dynamic arch from soft to loud to soft that creates unity. In the same work we find a sudden drop in dynamics delineating two sections.

From the above findings we can conclude that formal structure does not evade the percussion ensemble, even though, many of its sound sources are unconventional. Parameters and elements at work in all music are also at work, in the percussion ensemble and perhaps they are even more apparent in the percussion.ensemble than in

' 83 V

more conventional vehicles of musical expression because of the wide range of possibilities available.

The adaptability of the percussion ensemble seems to he limitless. The percussion ensemble is particularly well-suited to accompanying in d r o n e ’s 5 Items because of its vast range of colors in the text painting. In the Kraft' Concerto, the four percussion soloists are highly successful in fitting the role of the concertante group. The Colgrass Fantasy-Vafiations . illustrate the degree of technical demands made on a percussionist today, especially in reference to the intricate metric modulations.

■ It is evident that the possibilites are so vast that we are still witnessing the beginnings of a new era of exploration of sound sources available with percussion. This media is emerging as a valid and exciting form of musical expression. It deserves much attention from all .musicians— the composer, the theorist,.• and the listener.

SSLS C TED'. BIBLIOGRAPHY

Books and Articles

Ape1, Willi.: Harvard Dictionary of Music. 2nd ed.• Cambridge: Harvard University Press, 1974.

Blades, James. Percussion, Instruments and TheirHistory. 2nd ed,, London: Saber and SaberLimited, 1,975.

Clough, Rose Trillo. Suturism, The Story Of A Modern Art Movement— -A New Appraisal.New York: The Polygot Press, 1961.

Dallin, Leon. Techniques of. Twentieth-CenturyComposition. Dubuque, Iowa: William C. BrownCompany Publishers, 1957.

Deri, Otto. Exploring Twentieth Century Music. NewYork: Holt, Rinehart and Winston, Inc., 1968.

Grout, Donald Jay. A History of Western Music. 2nd ed.. New York: W.W. Norton & Company, Inc.,1973.

Keezer, Ronald. ' "A Study of Selected Percussion Ensemble Music of the Twentieth Century."Music Journal 17 (January 1959); 46-53.

Lang, Paul Henry, ed., Problems of Modern Music.New York: W.W. Norton & Company, Inc., 1960.

Machiis, Joseph. Introduction to Contemporary Music.. New York:' W.W. Norton & Company, Inc., 1961•

Meyer, John A. "The Idea of Conflict In the Concerto."■ Studies' in Music 8 (1974); 38-52.

Nelson,.. Robert U. The Technique of Variation (Berkeley and Los Angeles: University of CaliforniaPress, 1962). -

84

85Peyser, Joan, The New Music.. New York: Delacorte

Press, 1971.Price, Paul. "New Trends in Percussion Music."

National Association of College Wind and Percussion Instructors Journal 12 (March

. 1964); 42-43.Salzman, Eric. Twentieth Century Music: An Intro­

duction-. Englewood Cliffs, NJ: Prentice-Hall,1974. ; . ; - .

Schory, Richard. "This Age of Percussion." Music ■ Journal 17 (October 1969); 56-58.

Slonimsky, Nicolas. Music Since 1900. 4th ed., New York Charles Scribner's Sons, 1971. •

Taylor, Joshua C. Futurism. New York: The Museum ofModern Art, 1961. -

Van 1 andingham,. Larry. "The Percussion Ensemble: 1930-1945." \ The Percussionist 9 (May 1963) : 85-89•

Vanlandingham, Larry. "The Percussion Ensemble: 1930-1945." The Percussionist 10 (Spring 1972); 70-75. '

Vinton, John, ed. , Dictionary of Contemporary Music. ■; New York: E.P, .Dutton & Co., 1974.

Wennerstrom, Mary Hannah. Parametric Analysis ofContemporary Musical Form. Unpublished Doctoral Dissertation, Indiana University, 1972, (Ann Arbor: University Micro-films, 1972).

Wittlich, Gary E., -ed. Aspects of Twentieth Century MuSic. Englewood Cliffs, NJPre'ntice-Hall Inc., 1975.

ScoresCirone, Anthony J . 5 Items. Menlo Park: Cirone

- Publications, 1976.Colgrass, Michael. Fantasy-Variatlona. New York

.■ Music For Percussion, INC., 1973•

86Ginastera, Alberto. Cantata para America Maglca.

Buenos Aires: Bary Editorial, 1961.Harrison, Lou. Concerto for Violin with Percussion

Orchestra. New York: C. F. Peters Corporation 1961.

Kraft, William. Concerto for Percussion Soloists and Orchestra. New York: Mills Music, Inc., 19^4.

RecordingsCirone, Anthony J. 5 Items, University of Arizona Per­

cussion Ensemble, Gary Cook conductor; Univer­sity of Arizona Recordings, 1976.

Colgrass, Michael. Fantasy-Variations, The New Jersey Percussion Ensemble, Raymond DesRoches conductor; notes by Harvey Sollberger; produced by Teresa Sterne; Nonesuch H-71291 (Stereo),1974.

Kraft, William. Notes, Concerto for 4_ PercussionSoloists' and Orchestra, Los Angeles Philharmonic, Zubin Mehta conductor; London Records CS 6613 (ffrr).

CorrespondenceCirone, Anthony J. Personal communication to this

author. May 15, 1978.Colgrass, Michael. Personal communication to this

author, July 8, 1978.Kraft, William. Personal communication to this author,

July 29, 1978.

4 532