The Modern Percussion Revolution “This book is profound, intellectual, insightful, appropriate for the times and will fi ll a void between the practical and the futuristic look at percus- sion. The information obtained from reading the book will greatly benefi t the careers of the modern percussionists.” —John Beck, Professor Emeritus of Percussion, Eastman School of Music, University of Rochester, USA More than eighty years have passed since Edgard Varèse’s catalytic work for percussion ensemble, Ionisation, was heard in its New York premiere. A fl urry of pieces for this new medium dawned soon after, challenging the established truths and preferences of the European musical tradition while setting the stage for percussion to become one of the most signifi cant musical advances of the twentieth century. This ‘revolution’, as John Cage termed it, was a quintessentially modernist movement—an exploration of previously undiscovered sounds, forms, textures, and styles. However, as percussion music has progressed and become woven into the fabric of West- ern musical culture, several divergent paths, comprised of various tradi- tions and a multiplicity of aesthetic sensibilities, have since emerged for the percussionist to pursue. This edited collection highlights the progressive developments that con- tinue to investigate uncharted musical grounds. Using historical studies, philosophical insights, analyses of performance practice, and anecdotal refl ections authored by some of today’s most engaged performers, com- posers, and scholars, this book aims to illuminate the unique destinations found in the artistic journey of the modern percussionist. Kevin Lewis is a Section Percussionist in the Akron Symphony Orchestra, a founding member of the progressive Akros Percussion Collective, Chair of the Percussive Arts Society’s Scholarly Research Committee, and Editor-in- Chief of the forthcoming Percussive Notes Online Research Edition. Gustavo Aguilar is Assistant Professor of Experimental Performance at the University of Maine-Farmington, USA. Routledge Research in Music 1 Music, Science, and the 7 Music in Films on the Middle Rhythmic Brain Ages Cultural and Clinical Implications Authenticity vs. Fantasy Edited by Jonathan Berger John Haines and Gabe Turow 8 Popular Music in a Digital Music 2 Bodily Expression in Electronic Economy Music Problems and Practices for a Perspectives on a Reclaimed Service Industry Performativity Tim J. Anderson Edited by Deniz Peters, Gerhard Eckel, Andreas Dorschel 9 Music, Performance, and the Realities of Film 3 Vocal Music and Contemporary Shared Concert Experiences in Identities Screen Fiction Unlimited Voices in East Asia and Ben Winters the West Edited by Christian Utz 10 The Modern Percussion and Frederick Lau Revolution Journeys of the Progressive Artist 4 Musical Performance and the Edited by Kevin Lewis Changing City and Gustavo Aguilar Post-industrial Contexts in Europe and the United States Edited by Fabian Holt and Carsten Wergin 5 Liveness in Modern Music Musicians, Technology, and the Perception of Performance Paul Sanden 6 Masculinity in Opera Gender, History, and New Musicology Edited by Philip Purvis The Modern Percussion Revolution Journeys of the Progressive Artist Edited by Kevin Lewis and Gustavo Aguilar Routledge Taylor & Francis Group NEW YORK LONDON First published 2014 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2014 Taylor & Francis The right of Kevin Lewis and Gustavo Aguilar to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data The modern percussion revolution : journeys of the progressive artist / edited by Kevin Lewis and Gustavo Aguilar. pages cm. — (Routledge research in music) Includes bibliographical references and index. 1. Percussion music—20th century—History and criticism. I. Lewis, Kevin, 1980– II. Aguilar, Gustavo, 1962– ML1030.M64 2014 786.8—dc23 2014017564 ISBN13: 978-0-415-71695-6 (hbk) ISBN13: 978-1-315-87170-7 (ebk) Typeset in Sabon by IBT Global. Contents List of Figures vii Preface ix PART I Looking Back, Moving Ahead 1 Not Knowing, the Cart Got in Front 3 GUSTAVO AGUILAR 2 What of the Performers? The Case of the Percussion Group Cincinnati and the Need to Reconsider Percussion Chamber Music Historiography 18 THOMAS J. KERNAN 3 At Loose Ends with Anticommunication 38 ALLEN OTTE 4 Writing (at the End) of New Music 45 CHRISTOPHER SHULTIS PART II Exploration, Discovery, and Illumination 5 Abstracted Resonance: The Percussion Music of Peter Garland 61 JOHN LANE 6 The Speaking Percussionist as Storyteller 84 BONNIE WHITING vi Contents 7 I Drum the Body Electric 112 ROBERT ESLER 8 The Search for Self: An Exploration of the Percussion Music of Stuart Saunders Smith 133 KEVIN LEWIS PART III Conversing about the Journey 9 A Conversation with William Winant 163 THAD ANDERSON 10 Percussive Thoughts 172 FRITZ HAUSER 11 On the Nature of Percussion Masterworks 181 BILL SALLAK PART IV Refl ections on Paths Traveled 12 Meandering 201 STEVEN SCHICK 13 Bagatelles 215 ROBYN SCHULKOWSKY 14 Composing, Thoughts 224 STUART SAUNDERS SMITH 15 Letter to a Young Percussionist (Preferences in Percussion, 2010) 284 ALLEN OTTE Contributors 295 Index 301 Figures 2.1 Russell Peck, The Glory and the Grandeur, excerpt from p. 2 of the Otte manuscript [ca. 1987]. 28 2.2 Russell Peck, The Glory and the Grandeur. 30 2.3 John Luther Adams, Strange and Sacred Noise, excerpt from the fi rst draft of “Velocities Crossing in Phase Space” [ca. 1997]. 32 2.4 John Luther Adams, Strange and Sacred Noise, excerpt from the second draft of “Velocities Crossing in Phase Space” [ca. 1997]. 33 2.5 John Luther Adams, Strange and Sacred Noise. 33 3.1 Herbert Brün, Plot for Percussion. 39 3.2 Herbert Brün, Touch and Go, author’s performance score. 40 3.3 Herbert Brün, Floating Hierarchies, Quartet 12–1. 44 5.1 Quarter note series in “The Incorrigibles—Bounty Time”. 78 5.2 Suggested drum arrangement for Nana and Victorio. 79 6.1 Frederic Rzewski, To the Earth. 90 6.2 Jerome Kitzke, The Earth Only Endures, proposed instrument confi guration. 93 6.3 Jerome Kitzke, The Earth Only Endures, author’s adapted instrument confi guration. 94 6.4 Jerome Kitzke, The Earth Only Endures. 96 6.5 John Cage, 45' for a speaker. 99 6.6 John Cage/Bonnie Whiting, 51'15.657'' for a speaking percussionist. 100 6.7 Vinko Globokar, ?Corporel. 103 6.8 Vinko Globokar, Toucher, Scene 2. 107 8.1 Stuart Saunders Smith, Big Falls, Little Falls, Mvt. II: “Rocks and Mountains”. 142 8.2 Stuart Saunders Smith, By Language Embellished, I, Mvt. III. 147 viii Figures 8.3 Stuart Saunders Smith, By Language Embellished, I, Mvt. IV. 148 8.4 Stuart Saunders Smith, Return and Recall. 151 8.5 Stuart Saunders Smith, Family portraits: Delbert (great-grandfather). 154 10.1 Fritz Hauser performing Drum with Man. 178 10.2 A performance of Fritz Hauser’s Schallmaschine Maximus. 180 Preface “Percussion music is revolution”—so began John Cage’s 1939 essay “Goal: New Music, New Dance.” ‘Revolution’ is an intense word, implying a vio- lent overthrow of an established government or system; ‘schism’ might be a better term to describe the movement in which Cage partook. But seman- tic hair-splitting aside, it is now evident that the rise of percussion in the twentieth century was a hugely signifi cant event in the history of Western musical practice. The goal of this revolution—which collectively included the contributions of not just Cage but also Luigi Russolo, Mary Wigman, George Antheil, Amadeo Roldán, Edgard Varèse, Henry Cowell, Wil- liam Russell, Johanna Beyer, Lou Harrison, Doris Humphrey, and many others—was to escape the elitism that arose in European music, one that seemed to revere the genius of the composer and the skills of the technical virtuoso over music itself and one that shackled the creative expression of the artist by denying any music that did not fi t the gradually-evolving mold of the institution (indeed, those practicing within this tradition who ventured to use percussion in novel ways—Rossini, Berlioz, Liszt, Saint- Saëns, Mahler—received severe ridicule from critics). To rebel against the hegemony of the establishment was thus to promote the tolerance of new sounds, forms, ideas, and sonic discoveries and to denounce the prevailing belief that musical expression must satisfy certain requirements if it is to be considered valid as ‘serious’ art. It was not long after Cage’s bold pronouncement that the cries of the revolution began to be heard—percussion instruments became an accept- able means of musical expression. The decade of the 1950s brought enor- mous prospects: it became possible to earn a degree in percussion, fi rst at the Conservatoire de Paris in 1949 and the University of Illinois in 1950 and at several other European and American universities soon after; cham- ber ensemble works suddenly saw not just an explosion in the inclusion of percussion but an acknowledgement of its unique utility in the roles that it was assigned; and music for a brand-new type of performer—the solo percussionist—soon emerged. But with this infl ux of opportunities came great changes in percussion music and a number of new paths for the percussionist to follow. Paul Price continued to perform the current