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«Natalie Grant A dissertation submitted in partial satisfaction of the requirements for the degree of Bachelor of Music Performance (Honours) Course ...»

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Australian composers for percussion the following are particularly noteworthy:

Michael Askill is one percussionist/composer who has embraced the music and traditions of non-Western cultures in his music. He is a founding member and Artistic Director of Australia's premier contemporary ensemble Synergy, a composer, producer, and the former Head of the Percussion Department at the Canberra School of Music.1 He has collaborated with many master musicians including Turkish virtuoso Omar Faruk Tekbilek, who has lent key musical and vocal elements to many of Michael Askill's recordings and performances. His work Spirals can be found on page 24 of this catalogue.

Graeme Leak is an acclaimed Australian performer and composer with a distinguished background in percussion and drumming. He has been a founding member of a number of Australia's leading contemporary music groups, and is now an innovative independent artist committed to living and performing in Australia. His diverse range of solo works include performance pieces for amplified paracetamol16, amplified cactus, as well as works for one or more 'string cans': an easily-constructed, home-made instrument based http://www.blacksun.com/releases/15031.htm A performance piece with the aid of a pre-recorded backing track, giving the perception that the performer has swallowed the tablet and gracing its journey around the body.

on the model of a single string, a stick and a resonator.17 His piece Yo Yo Man can be found on page 17.

Percussionist Timothy Phillips is well-known in the Melbourne music scene. He has performed with the Melbourne Symphony Orchestra, Astra Chamber Music, and the Australian Art Orchestra amongst other large ensembles. Occasionally, however, he takes centre stage in his own (independently produced) concerts, which gives him the chance to showcase his own compositions. Many of these incorporate theatrical elements, including his composition Hand Dance, which can be found on page 14.

Australian-American musician and composer Erik Griswold fuses experimental, jazz and world music traditions in his works, specializing in prepared piano, percussion and toy instruments. His percussion sextet Strings Attached and subsequent duet Rope Bridges deal with kinetic energy and movement and can be found on page 10 of this catalogue.

Graeme Leak, Performance Making: A Manualfor Music Workshops, Currency Press, 2003, p. 136

4. Catalogue of music for percussion with

extra-musical elements 1950 - 2006:

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Despite the enormous developments in orchestral percussion in the 20th century, this dissertation will be focusing primarily on works for solo percussion and small ensemble.

C For each work in the catalogue I have endeavored to provide information regarding the availability of scores and recordings, as well as any useful or interesting program notes.

O For several works, especially those by composer-performers, there are not always full scores in existence. This is the case for the work of Graeme Leak, Timothy Phillips, Bill Cahn, Frederic Rzewski and Veronika Krausas. In these instances I have provided email addresses for the composer so that they may be contacted regarding hard copies of their works.

£ The works are listed in chronological order, by date of composition, starting with the most recent

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Movement is inherent in all musipal performance - in particular to percussion playing and many works require at least some level of choreography in order to simply get around complicated set-ups. The following works extend such movement to include specific dance-type motions and gestures integral to communicating the purpose of each work to the audience.

Timothy Phillips (b. 1967 Canberra, Australia) As Quiet As... 2004 Solo The performer makes mouse-like movements between musical moments: creeping around like a mouse, along the walls darting in and out of the entrance and then breaking into a whistled and danced version of the Mouse in Amsterdam.

Instrumentation: 3 woodblocks Duration: 4' Score: available from composer18 Recording: not available Additional Information: premiered at the Mechanics Institute, Brunswick (Victoria, Australia) Dec. 2003 Timothy Phillips email: timothyphillips(g),gmx.net Erik Griswold (b. 1969 California, USA) Mope Bridge 2003 Duo with drums, shakers and choreography An adaptation of Erik Griswold's sextet Strings Attached, the purpose of this work is for the percussion duo to be transformed into a live kinetic sculpture. Bright white nylon ropes attach the performers' sticks to each other, causing their physical gestures to be visually exaggerated on a massive scale.

Minute shifts of stick position produce palpable shifts in the tension of the ropes, while large gestures give rise to a dramatic rising and falling choreography. Gently swelling tremolos suggest breathing or gusts of wind, pulsating rhythms produce sound wave patterns and quick single strokes imitate the action of a whip. "At times the choreography of the ropes emphasizes spiraling movement around the stage, while at other times the ropes seem to become magically frozen in a three-dimensional abstraction".

Instrumentation: 4 torn toms, 2 seed pod shakers, 2 ropes.

Duration: 6-7' Score: Suspensions: Australian Percussion Works by Red House. AMC Library number 786.8/SUS 1 Recording: not available Additional Information: the ropes are secured by drilling a small hole in each stick about 7cm from the tip; one is attached from player 1 right hand stick to player 2 left hand stick. The other is attached from player 1 left hand stick to player 2 right hand stick.

Ropes should be almost taut when both sets of sticks are at the near edges of the drums.

Erik Griswold in Suspensions: Australian Percussion Works 2003, p.28 Refers to the Australian Music Centre http://www.amcoz.com.au Griswold, 2003, p.28 Timothy Phillips (b. 1967 Canberra) Clogwork Orange 2001 Solo For percussionist (wearing clogs on their hands and feet) and one orange. It starts out with the players moving their hands in circles like a big clock. They speed up and then break into a Spanish flavoured dance culminating in them stomping on the orange as they shout "Ole".

Instrumentation/directions: Spanish dancing with clogs and orange Duration: 5' Score: available from composer Recording: not available Additional Information: premiered April 2001, Theatreworks St Kilda (Victoria, Australia) Rupert Kettle (1940-2005 Michigan, USA) Traps 1994 Duo for two players on one drum set This work begins with one of the players kneeling in front of the drum set, playing the kick drum with beaters instead of the usual kick pedal. Players rotate around the set up in a tag team formation; each getting out of the way in just enough time for the other to continue playing/sit down on the drum stool/stand up and so on as they trade places with each other.

Instrumentation: two drumset players playing one drumset: snare drum, bass drum, tom-toms(4), suspended cymbals(2), hi-hat Duration: 7' Score: Studio 4 Music http://www.mostlvmarimba.com Recording: not available Additional Information: dedicated to Pete Siers and Dan Merkel; Premiered November 1995, Grand Rapids, Michigan, Aquinas College Paul Sarcich (b.1951 Wellington, NZ) Concert Pieces for Timpani, III ^'Fandango" 1990 Timpani solo with piano accompaniment The first two movements of this work exploit traditional timpani techniques in with the emphasis on sensitive ensemble playing with the pianist. In the third movement, both pianist and timpanist add sections of hand clapping and Flamenco style heel stomping.

The movement finishes with the performers shouting "O-le!" Instrumentation: 4 timpani with piano accompaniment Duration: 15' (entire work) Score: Studio 4 Music. AMC Library Number 786.93/SAR 1 Recording: not available

Additional Information: calls for:

Heels: shoes with hard heels (preferable plated or nailed) stomped on a wooden surface Claps-cupped: the low flamenco hand clap, with the hands crossed palm-to-palm Claps-slapped: the high flamenco hand clap, with the fingers of one hand slapped into the palm of the other.

Thierry De Mey (b. 1956 Brussels, Belgium) Musique de Tables 1987 Trio for percussionists playing amplified tables Thierry De Mey's work explores the boundaries between music and the movements that produce it and makes it audible. A "ballet for six hands" 22, Musique de Tables is for three http://www.nehi-lich.com/blog/2006/05/07/ultimate-culture/ percussionists who each use an amplified table as their musical instrument. The diversity of tones in this piece is produced by striking the tables in different ways. The position of fingers and hands and the rhythmic figures are coded in a repertoire of original symbols introduced into the score. Musique de Tables refers to the historical form of 'Tafelmusik,' its structure essentially that of a baroque suite23 - but for fists, fingertips, knuckles and nails.

Instrumentation: three amplified tables Duration: 8' Score: Percussion Music Europe, Belgium Recording: short film: direction and music by Thierry De Mey, Performers: Gery Cambier, Georges-Elie Octors, Dirk Descheemaker (35mm color - 8 min. Belgium, 1999) Additional Information: the idea of Musique deTables is to examine the relationship between music and movement; to search the boundaries between music and the movement that produces it and makes it audible Donald Martino (1931 - 2005 New Jersey, USA) Augenmusik: A Mixed Mediocritique 1972 Multi-percussion solo Augenmusik roughly translates to "Eye Music" and as Donald Martino comments in his score, "it is more Augen than Musik". This piece is scored for Actress, Danseuse or Uninhibited female Percussionist (and electronic tape). The performer wears a very scant bikini with a long gown (easily and quickly discarded, provocative, but not overly inappropriate to the concert stage), moderately spiked high heel shoes and a second pair with taps. She (the piece is written specifically for female performers) is given instructions as to how to move around the rather large multi-percussion set up (for example, with dignity, tart-ly,funkily, with trepidation), gradually removing both shoes and then the gown in the process.

http://www.33faintingspells.org/ndcinema2003 printable.html http://www.grame.fr/Productions/Mixtes/homeEnglish.htm Instrumentation: multi-percussion: tubular chimes, crotales, marimba, vibraphone, rototoms, timpani (4), bass drum, tam tams, suspended cymbals, thunder sheet, plus miscellaneous non-pitched percussion Duration: 7-10' Score: Dantalian, Inc. (DSE519, DSE519t) Recording: not available Additional Information: commission: Sheri Dorn

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Timothy Phillips (b.1967 Canberra, Australia) Hand Dance 2005 Solo for drum with gestures Inspired by the works of such experimental drummers as Switzerland's Fritz Hauser, "Hand Dance" takes the performer's hands on an animated journey. This work explores all the different timbres that can be produced with just one drum.

Instrumentation: conga and a series of hand and arm gestures Duration: 6' Score: not available Recording: available from composer Additional Information: premiered June 5, 2005 by Timothy Phillips at Richmond Uniting Church, Melbourne Mauricio Kagel (b. 1931 Buenos Aires, Argentina) Vart Bruit (Solo for Two) 1994/5 Solo percussion with assistant Movement piece. While the percussionist plays, the assistant runs to and from a work bench, bringing the percussionist new instruments to interact with.

Instrumentation: castanets, bass drum, snare drum, upside down snare drum, triangle, tarn tam, bells, tambourine, rice in Japanese temple bowls Duration: 23' Score: C.F. Peters. (P08889) Recording: not available Rupert Kettle (1940-2005 Michigan, USA) Rudimental Rascals 1983/4 Snare drum duet Rudimental Rascals is a work comprised mainly of snare drum rudiments and musical jokes. The tempo marking is "a shaky 108"; the piece begins with an audible count-off in the wrong rhythm. The players are instructed to "accidentally" strike their hands, fingers or knuckles, play on each others sticks, and eventually a stick is dropped.

Instrumentation: two snare drums Duration: 2'30" Score: Studio4 Music Recording: not available Additional Information: dedication: to Solo and Ensemble Adjudicators Everywhere Mauricio Kagel (b. 1931 Buenos Aires, Argentina) Rrrrr... 1982 Two percussionists with electronic tape Rrrrr... consists of 41 autonomous pieces of music, beginning with the letter "R" and all performable independently. The respective instrumental setting (organ; choir and piano;

percussion duo; wind instruments, double basses and percussion; solo voices; jazz combo) are published in separate volumes. A performance of all 41 pieces constitutes the Radio Phantasy 'Rrrrr...'"

The six percussion duos are titled:

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Instrumentation: police whistle, sheet of paper, 2 switches, friction drum (cuica), 6 alpine cowbells, reco-reco on stand (preferably with spiral spring), 3 wood blocs, tenor drum, side drum, sleigh bells, ratchet, tubular chimes, glass marbles, rubber balls, dish of water, bottles filled with sand grains. For duet number 2 you also need a pre-recorded tape that the players should prepare themselves, following the instructions given in the score.

Duration: 12' Score: CF Peters (EP8531) Recording: Mauricio Kagel 2 CD Additional Information: the duos may be performed separately or in any combination.

The order in the score is not necessarily the order in which the duos have to be played.

Mauricio Kagel (b. 1931 Buenos Aires, Argentina)Dressur 1976Percussion Trio

In this work the three percussionists dance and perform prescribed movements in a mock circus ring, playing all wooden instruments. Dressur, is an example of what Kagel calls "instrumental theater".25 In such works, the spectacle of the performance, usually incorporating purely dramatic gestures, is just as important, if not more so, than the music itself. In Dressur these dramatic actions include slamming chairs on the floor, and beating bare chests and stomachs with coconut shells.

http://www.sequenza21.com/2005 12 11 s21archives.html

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