Multiple percussion performance problems as illustrated in five different works composed by Stockhausen, Smith Brindle, Colgrass, Dahl, and Kraft between 1959 and 1967 /

Abstract

This document concerns itself with the identification and cross-relationship of three categories of performance problems related to multiple percussion performance: (1) notation; (2) instrument placement; (3) movement. These problems are illustrated through the works of Karlheinz Stockhausen (Nr. 9 Zyklus), Reginald Smith Brindle (Orion M. 42), Michael Colgrass (Fantasy Variations), Ingolf Dahl (Duettino Concertante), and William Kraft (Suite for Percussion) in the time frame of 1959 to 1967.

Generative and significant twentieth century multiple percussion compositions which preceded these works (prior to 1959) are discussed, and the necessity for a systematic process of performance preparation to such multiple percussion compositions is apparent. The selection of these five works were chosen to illustrate a diversity of the number of performers and consequent percussion instruments involved. In addition, these works reflect the use of the following formats: (1) unaccompanied multiple percussion solo; (2) concerto with percussion ensemble accompaniment; (3) percussion ensemble; (4) multiple percussion with another instrument. Their stylistic identities illuminate the differences among the five selected composers. The diversity of sounds in these works is compounded by each composer's choice of instruments, of notation, of instrument placement, and of the conscious or subconscious visual impact on the audience. This document describes the factors that combine to make multiple percussion compositions a continuing musical challenge within a systemized, developmental learning process.