Heather BarringerPhoto by Anatoly Larkin In my experience, every situation is unique and, therefore, the best notation scenario for a percussion score changes from piece to piece. That said, I do know I appreciate significant dynamic detail and phrasing indications. Most importantly, I appreciate plenty of cues or even a condensed line of the score […]
Amy Lynn Barber I have worked with composers at both extremes of the spectrum: those who prefer to provide minute detail about every aspect of the score and its performance, and those who prefer to provide only the most general information and leave the realization of the score to the performer. The ideal situation, of […]
Greg Sandow Proust‘s In Search of Lost Time—as we’ve now learned to call his novel, whose name used to be rendered as Remembrance of Things Past—is very long, published in seven separate volumes. Scenes that another writer would treat in a single chapter (conversation at a dinner party, a visit with a friend) might, in […]
Bob Becker Bill Cahn Robin Engelman Russell Hartenberger Garry Kvistad Bob Becker Bob Becker In answer to the posed question, here’s an excerpt from an article that I wrote in 1992, titled “The Paradoxes of Percussion”: Why then do percussionists put up with, and sometimes masochistically embrace, the traumatic effort and expense involved with large […]
Why percussionists can be composers’ greatest allies.
Twelve percussionists respond.
Nicole V. Gagné In the concert halls of 18th and 19th century Europe, percussion was traditionally regarded as being almost exclusively a secondary aspect of orchestral music—and one best employed with caution. Ironically, this European attitude toward percussion was summed up by an American composer noted for his nationalism. In What To Listen For In […]
Monday, February 16, 2004 11:00 a.m.-noon at the American Music Center Videotaped and transcribed by Randy Nordschow Hundreds of Instruments Drummer or Percussionist? Training and Repertoire Nurturing New Work Percussion and Pitch Specific Techniques Last November, I went down to the World Financial Center to hear Steven Schick play John Luther Adams’s The Mathematics of […]
It was in 1939 that John Cage declared, “Percussion music is revolution.” Fifty years later in 1989, he was asked to write a preface for a book about percussion, and it was here that he more thoroughly described a philosophy of percussion as something more than a family of instruments, but as a metaphor for […]