Difference between revisions of "Multiple Percussion"
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Throughout the late eighteenth and nineteenth centuries percussion instruments were used to give dramatic and coloristic emphasis to the orchestra. As tonal harmony began to dissolve with twentieth century composers, the percussion was able to begin to be freed from the confines of a supportive role and began to explore more soloistic and primary roles in music. <br/> | Throughout the late eighteenth and nineteenth centuries percussion instruments were used to give dramatic and coloristic emphasis to the orchestra. As tonal harmony began to dissolve with twentieth century composers, the percussion was able to begin to be freed from the confines of a supportive role and began to explore more soloistic and primary roles in music. <br/> | ||
| − | The first instances of multiple percussion were within chamber and orchestral works. Many composers began in the early twentieth century to compose parts in which one percussionist was asked to play many instruments that previously would have been assigned to an entire percussion section. In [[Igor Stravinsky]]’s ''L’Histoire du Soldat'' (1918) one percussionist plays drums of various sizes, [[tambourine]], [[cymbal]], and [[triangle]], and in [[Béla Bartók]]’s ''Sonata for Two Pianos and Percussion'' (1937) the percussionist plays [[xylophone]], [[snare drum]], [[bass drum]], triangles, cymbals, and [[tam-tam]]. One of the major significances of the Bartók is that not only was the player utilizing a multiple percussion configuration but also they were now of equal importance to the piano | + | The first instances of multiple percussion were within chamber and orchestral works. Many composers began in the early twentieth century to compose parts in which one percussionist was asked to play many instruments that previously would have been assigned to an entire percussion section. In [[Igor Stravinsky]]’s ''L’Histoire du Soldat'' (1918) one percussionist plays drums of various sizes, [[tambourine]], [[cymbal]], and [[triangle]], and in [[Béla Bartók]]’s ''Sonata for Two Pianos and Percussion'' (1937) the percussionist plays [[xylophone]], [[snare drum]], [[bass drum]], triangles, cymbals, and [[tam-tam]]. One of the major significances of the Bartók is that not only was the player utilizing a multiple percussion configuration but also they were now of equal importance to the piano <ref>“John Beck and John H. Beck, eds., Encyclopedia of Percussion, 2nd ed. (New York: Routledge, 2007), page nr. 289”</ref>. <br/> |
In the 1920s and 1930s the [[drum set]] was the multiple instrument that was found virtually everywhere. Stemming from American jazz, this instrument was the model for many pieces written at that time. Three of the most important are Stravinsky’s ''L’Histoire du Soldat'', [[Darius Milhaud]]’s ''La Création du monde'' (1923) and [[William Walton]]’s ''Faҫade'' (1922). | In the 1920s and 1930s the [[drum set]] was the multiple instrument that was found virtually everywhere. Stemming from American jazz, this instrument was the model for many pieces written at that time. Three of the most important are Stravinsky’s ''L’Histoire du Soldat'', [[Darius Milhaud]]’s ''La Création du monde'' (1923) and [[William Walton]]’s ''Faҫade'' (1922). | ||
Revision as of 12:28, 7 December 2011
Multiple percussion is a relatively new field of percussion literature. The first major work for multiple percussion solo dates back only a little over 50 years to 1956 (John Cage 27'10.554)[1].
Etymology and Alternative Spellings
Construction
History
Throughout the late eighteenth and nineteenth centuries percussion instruments were used to give dramatic and coloristic emphasis to the orchestra. As tonal harmony began to dissolve with twentieth century composers, the percussion was able to begin to be freed from the confines of a supportive role and began to explore more soloistic and primary roles in music.
The first instances of multiple percussion were within chamber and orchestral works. Many composers began in the early twentieth century to compose parts in which one percussionist was asked to play many instruments that previously would have been assigned to an entire percussion section. In Igor Stravinsky’s L’Histoire du Soldat (1918) one percussionist plays drums of various sizes, tambourine, cymbal, and triangle, and in Béla Bartók’s Sonata for Two Pianos and Percussion (1937) the percussionist plays xylophone, snare drum, bass drum, triangles, cymbals, and tam-tam. One of the major significances of the Bartók is that not only was the player utilizing a multiple percussion configuration but also they were now of equal importance to the piano [2].
In the 1920s and 1930s the drum set was the multiple instrument that was found virtually everywhere. Stemming from American jazz, this instrument was the model for many pieces written at that time. Three of the most important are Stravinsky’s L’Histoire du Soldat, Darius Milhaud’s La Création du monde (1923) and William Walton’s Faҫade (1922).
Sticks, Mallets, Beaters
Technique
Grips
Stroke Style/Type
Major Works
John Cage 27'10.554 (1956)
Karlheinz Stockhausen Zyklus (1959)
Morton Feldman The King of Denmark (1964)
Helmut Lachenmann Interieur I (1965)
Charles Wuorinen Janissary Music (1966)
Manufacturers
Retailers
See Also
References