Thesis (M. Mus.)--University of Adelaide, Dept. of Music, 1990. / Includes bibliographical references (leaves 164-167).

Thesis (M.M.)--University of Rochester, 1939. / Typewritten. Bibliography: p. 171-174. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4222

Thesis (Ph. D.)--Harvard University, 1952. / Typescript. Includes bibliographical references (leaves [552]-575).

This dissertation examines and critiques timpani instruction literature with a focus on timpani technique. It begins with an historical account of the origins of modern timpani. What follows is a look at the development of technique through documented timpani instruction beginning with Johann Ernst Altenburg’s treatise from 1795. Based on material examined in a literature survey of instructional texts from the twentieth and twenty-first centuries, an examination of basic timpani technique and symphonic repertoire is presented in relation to discussions with four professional timpanists. Ian Bernard (Former Principal Timpanist of the National Arts Centre Orchestra), Tom Greenleaves (Leipzig Gewandhaus Orchestra), Brian Jones (Dallas Symphony Orchestra) and Benedickt Leithner (Deutsche Oper Berlin) all comment on timpani instruction literature, discuss ways it could be enhanced, and share their opinions on technique. Conclusions are drawn challenging the efficacy of timpani instructional literature with particular emphasis on lacunae. In a brief appendix, selected material from violin and trumpet literature is discussed in relation to timpani literature. A second appendix offers new suggestions for technical development related to orchestral timpani parts.

This dissertation examines and critiques timpani instruction literature with a focus on timpani technique. It begins with an historical account of the origins of modern timpani. What follows is a look at the development of technique through documented timpani instruction beginning with Johann Ernst Altenburg’s treatise from 1795. Based on material examined in a literature survey of instructional texts from the twentieth and twenty-first centuries, an examination of basic timpani technique and symphonic repertoire is presented in relation to discussions with four professional timpanists. Ian Bernard (Former Principal Timpanist of the National Arts Centre Orchestra), Tom Greenleaves (Leipzig Gewandhaus Orchestra), Brian Jones (Dallas Symphony Orchestra) and Benedickt Leithner (Deutsche Oper Berlin) all comment on timpani instruction literature, discuss ways it could be enhanced, and share their opinions on technique. Conclusions are drawn challenging the efficacy of timpani instructional literature with particular emphasis on lacunae. In a brief appendix, selected material from violin and trumpet literature is discussed in relation to timpani literature. A second appendix offers new suggestions for technical development related to orchestral timpani parts.

No description available.

The dissertation presented a performance analysis and comparison of two major timpani concertos. The Concerto for Five Kettledrums and Orchestra by Robert Parris and the Concerto for Timpani and Orchestra by Werner Thaerichen were chosen for the study because they have been performed by major symphony orchestras, they have been performed at the advanced collegiate level, and because both concertos were written for five timpani and a similar orchestra instrumentation.Initially, each composition was thoroughly analyzed in regard to the specific techniques necessary for a consistent, musical performance. The performance analysis attempted a measure by measure explanation of the solo parts with musical examples; the measures were grouped according to musical phrasing or common technical problems. Some of the more complex phrases were then more minutely examined to focus on a specific performance problem. The mastery of a particular technique or movement was often facilitated by an exercise developed from the performance problem. A number of such exercises were presented and explained in the performance analysis.The comparative performance analysis was presented to best illustrate and illuminate the following similarities and dissimilarities:1. The basic difficulty, in both the composition and performance of a timpani solo, is that of a conjunct, lyrical, multiple-pitched line as opposed to the more idiomatic disjunct, fragmented exchange of solo material with the accompaniment. This was the basis of the comparative analysis. The Parris Concerto is lore linear and lyrical, whereas the Thaerichen Concerto is more fragmented. The Thaerichen solo has for one, two, or three drums and rhythmic work is definitely linear and depends less upon single and two drum figures to create and maintain interest. In this sense, the to the extent that the Thaerichen Concerto does.2. Because of the melodic nature of the material, the Parris Concerto was more demanding in interpretation than was the Thaerichen Concerto. The solo timpani pant in the Parris Concerto is foreground material and is more expressive than the ostinato, background material of the solo part of much of the Thaerichen Concerto.3. There are similar and dissimilar sticking situations which demanded study and experimentation to produce the most musical results. Similarities in stickings include right-hand and lefthand-lead, stick doublings and a combination of alternate stickings and stick doublings. The Thaerichen solo has two passages utilizing repeated eighth-notes in one hand and a melody around the drums with the other; similar stickings are not required in the Parris. However, the Parris solo has complex arms-crossed stickings and almost acrobatic arm and foot movements.4. Tuning schemes vary more frequently aid more dramatically in the Parris Concerto.The performance analysis and comparison substantiated these similarities and dissimilarities and further revealed that the length and many repetitions of the Thaerichen solo demanded the utmost concentration and consistency due to the static nature of many passages. The Parris is more compact, with many varied performance problems facing the soloist every few measures. The variety of melodic material, articulations, and mallet movements result in the Parris Concerto being the more difficult. The Thaerichen Concerto makes fewer technical demands, and spaces them farther apart. In many passages of the Thaerichen, the tuning scheme remains the same. Also, tempo does not vary as often as it does in the Parris. The Parris solo features more foreground material, with its melodic phrases supported by the orchestra; whereas, the timpani in the Thaerichen is a part of the overall orchestral texture, only occasionally being allowed to assume a principal melodic role.This study was undertaken as a guide for the timpanist desiring to study and perform these works. Specific solutions to performance problems have been offered as a means of achieving technical mastery and as a motivation to further explore and exploit one's personal performance skills and talents.

abstract: Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close. / Dissertation/Thesis / D.M.A. Music 2013

Method books are an integral part of the percussion pedagogy. Because of the vast number of instruments a modern percussionist is expected to play, they often look for progressive, concise, and effective resources that can make learning such a variety of instruments more efficient. Instructional books currently exist for many areas of percussion performance, including snare drum, mallet percussion, timpani, World music, accessories, and marching percussion. Included in these books are information and procedures on music reading, rhythm studies, listening skills, part preparation, and technical approach. Focusing on timpani methods specifically, many of these books include tuning and pedaling exercises and etudes. However, their pedagogies for the execution of such difficult procedures are superficial and focus primarily on technical prowess. Timpani are the only Western pitched instruments a percussionist is required to tune, which proves intimidating for many players. Moreover, the aural and technical demands of the contemporary timpanist are ever-increasing with the technical demands found in modern composition. This dissertation will address the skills and techniques for tuning and pedaling timpani ignored by current method books and provide the timpanist with a process through a systematic set of etudes with audio accompaniment tracks. The goals of this method are to target the specific set of skills needed by the timpanist for accurate and effective timpani tuning in a modern ensemble setting.

This dissertation, which takes the form of a creative project as is sanctioned-by the Doctor of Arts Curricular Program, is a timpani method based on the performance practices of Edward M. Metzenger, the internationally recognized timpanist and teacher.Although Metzenger's entire life has been inextricably tied to the performance and teaching of music, specifically percussion, and his musical experiences run the gamut from dance to symphonic orchestras, including radio, television, and theater, lie will perhaps best be remembered for his thirty-three years of tenure with the Chicago Symphony Orchestra, thirty-one of which were as its solo timpanist.Metzenger's symphonic career is probably best viewed by an examination of the programs of the Chicago Symphony Orchestra beginning with the 1930-31 season and extending through the 1962-63 season. During these years the Chicago Symphony saw a number of permanent conductors at its helm from Frederick Stock to Fritz Reiner. Also, an extraordinary number of illustrious guest conductors and soloists worked with the orchestra during these years. (This information is presented in Appendix A; "Conductors, Associate Conductors, Soloists, and Assisting Artists of the Chicago Symphony Orchestra, 1930-1963.")The repertoire of this orchestra, performed during the years Metzenger was the solo timpanist, is most inclusive. The list of recordings made during this same period is also extensive. A perusal of this list (recordings) can perhaps yield an estimate of the orchestra's total repertoire. (This list of recordings is presented in Appendix B; "Recordings by the Chicago Symphony Orchestra, 1930-1963.")The foregoing, the Chicago Symphony Orchestra's conductors, soloists, and recordings, is noted to substantiate the artistic climate in which Metzenger performed during his tenure with this orchestra and, consequently, the vast fund of knowledge and practical experience which are his to impart.In an effort to capture and perpetuate the essence of the timpani performance practices of Edward M. Metzenger, the author formulated a method which includes a detailed discussion of these respective practices, provided numerous exercises for their development, and applied them to selected symphonic compositions.In "Part One" of this method the various timpani performance practices of Metzenger are discussed in detail and provided with abundant exercises with explicit practice proceduresfor their development. These performance practices include: ear training; the playing position; the mallet grip (fulcrum and use of fingers); the timpani stroke; the playing areas (legato, semistaccato, and staccato); movement between adjacent and nonadjacent drums with single strokes (pushing, cross sticking, and double sticking); the timpani roll (speed, between adjacent and nonadjacent drums, tied, separated, fortissimo, piano, fortepiano, crescendo-decrescendo, metered and unmetered, and symbols); muffling (pad and hands); the glissando; and grace notes (one, two, and three).The etude approach and the use of complex rhythms which in anyway would encumber the calculated aim of each specific set of exercises are avoided and supplanted by short repetitive figures which are devised to facilitate the acquisition of each distinct skill.It is not suggested that all the exercises of each section be completely mastered before progressing to the next, but that a continuing development be noted simultaneously in all the sections. The accumulated expertise gained through growth in these separate skills can then be applied to any performance situation whether it be as a soloist or as a member of an ensemble.It would be ideal indeed to edit each selection which was performed by the Chicago Symphony Orchestra while Metzenger was its timpanist; however, the breadth of this task is beyond the scope of this paper. In lieu of this comprehensive undertaking, in "Part Two" of this method, the timpani performance techniques required in the symphonies of Beethoven and Brahms are noted in detail. These compositions were selected because the techniques required for their execution are readily applicable to the demands of performing on the timpani in general."A Timpani Method Based on the Performance Practices of Edward M. Metzenger" can successfully be used independently as a means of developing the performer, or it can be used as ancillary material in combination with other methods, etudes, and solos to achieve this goal.