INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from th
Views 138 Downloads 6 File size 6MB
INFORMATION TO USERS
This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.
Also, if unauthorized
copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy.
Higher quality 6" x 9" black and white
photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order.
Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600
UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
NEY ROSAURO: A COMPREHENSIVE INSTRUCTIONAL VIDEO AND REFERENCE STUDY GUIDE ON THE COMPOSER AND HIS MARIMBA CONCERTO
by
Domenico Equilio Zarro
Dissertation Committee: Professor Harold Abeles, Sponsor Professor Lori Custodero
Approved by the Committee on the Degree o f Doctor o f Education
natp
SiP 2 5 2000
Submitted in p artial fu lfillm en t o f the requirem ents for the Degree o f Doctor o f Education in Teachers College, Columbia University 2000
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
UMI Number 9989287
Copyright 2000 by Zarro, Domenico Equilio All rights reserved.
UMI* UMI Microform9989287 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.
Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2
© Copyright Domenico Equilio Zarro 2000 A ll Rights Reserved
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
NEY ROSAURO: A COMPREHENSIVE INSTRUCTIONAL VIDEO AND REFERENCE STUDY GUIDE ON THE COMPOSER AND HIS MARIMBA CONCERTO
by
Domenico Equilio Zarro
Dissertation Committee: Professor H arold Abeles, Sponsor Professor Lori Custodero
Approved by the Com m ittee on the Degree o f D octor o f Education SEP 2 5 2000
Subm itted in p a rtia l fu lfillm e n t o f the requirem ents fo r the Degree o f D octor o f Education in Teachers College, Colum bia U niversity 2000
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
ABSTRACT
NEY ROSAURO: A COMPREHENSIVE INSTRUCTIONAL VIDEO AND REFERENCE STUDY GUIDE ON THE COMPOSER AND HIS MARIMBA CONCERTO
DOMENICO EQUIUO ZARRO
The objective o f this dissertation is to present an “Instructional Video” accompanied by a corresponding “Reference Study Guide.” These instructional m aterials outline pertinent inform ation about Ney Gabriel Rosauro, D.M .A., along w ith an in depth performance analysis o f his Concerto for M arim ba and Orchestra. Dr. Rosauro is one o f the most prom inent percussion composers today. His Concerto for M arim ba and Orchestra has been perform ed by over 400 orchestras w orld w ide. Along w ith his arrangem ents for piano reduction and percussion ensemble, this w ork has become the most perform ed m arim ba concerto this decade, thus making this composition and its composer significant topics o f study. U nfortunately, m any percussionists have neither perform ed or studied a m arim ba concerto. Therefore, instructional m aterials are necessary for the profession to evaluate a given w ork and its composer. Students, pedagogues and perform ers who have access to
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
an “Instructional Video” and an accompanying “Reference Study Guide” pertaining to this concerto, can perform , study and instruct th e ir students w ith greater knowledge and confidence. These instructional m aterials cover three m ajor areas o f study: 1) an in depth interview w ith D r. Rosauro, which consists o f his com positional influences, w ritin g style, personal thoughts on his concerto, and biographical inform ation; 2) a detailed perform ance analysis o f the solo m arim ba p art to this concerto; and 3) a com plete perform ance o f this w ork. Com bining the “Instructional Video,” and “Reference Study G uide,” allows the student to hear and see this work; and to gain greater insight to the technical demands o f this com position, as w ell as the in ten t o f its composer.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
3
Table o f Contents
C hapter I INTRODUCnON._________________________________
6
Problem Statement............................................................................ 6 Rationale..............................................................................................8 Purpose.............................................................................................. 10 C hapter II RELATED LITERATURE......................................................................... 11 The Marimba.................................................................................... 11 Characteristics o f The Modern Instrum ent............................... 15 Development o f The Solo Percussionist.......................................17 Modeling and Video Instruction................................................... 24 Classroom and Applied Settings................................................... 30 Applications To This Study............................................................ 41 C h ap ter III METHODOLOGY._________________________________________ 42 Development o f The Materials...................................................... 43 Structural Content and Function o f The M aterials.................. 48 Evaluation........................................................................................ 51
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
4
C hapter IV SUMMARY............................................................................................. 53 Meeting The Objectives................................................................. 54 Producing The Video......................................................................56 Evaluations.......................................................................................59 Percussive Arts Society.................................................................. 85 Improving Upon The Final Project.............................................. 86 Recommendations For Further Research................................... 89 Conclusion.__________________________________ Bibliography.____________________________________
92 94
Appendix A. Reference Study G uide...........................................................98 Biographical Inform ation............................................................ 102 Compositional Development....................................................... 105 The Concerto.________
106
Arrangements................................................................................107 Concerto’s Form............................................................................ 108 Musical Excerpts...........................................................................110 Movement One Section O ne....................................................... 112 Movement One Section Two........................................................ 116 Movement One Section Three................................................... 121 Movement One Section Four.......................................................123 Movement Two Section O ne.............................. - ...................... 124 Movement Two Section Two....................................................... 127
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
D
Movement Two Section Three..................................................... 130 Movement Two Section Four........................................................133 Movement Three Section One..................................
136
Movement Three Section Two.....................................................140 Movement Three Section Three.................................................. 141 Movement Three Section Four.....................................................143 Movement Four Section One........................................................ 147 Movement Four Section Two........................................................152 Movement Four Section Three..................................................... 157 Movement Four Section Four.......................................................160 Catalog o f Works._____________________________________ 164 Pedagogical Materials for Percussion........................................ 173 Videos and Recordings..................................................................175 Appendix B. Instructional Video O utline................................................... 177
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
6
I - In tro d u ctio n
Problem Statem ent
The contem porary m arim bist is expected to perform an extensive rep erto ire from ensemble, concert and orchestral literatu re, to jazz and solo recital literatu re. Iro n ically, and as early as the 1940’s, a m arim bist was seldom asked to be a guest soloist w ith a m ajor sym phony orchestra, let alone have a recording contract w ith a m ajor record company. Today such artists as Evelyn Glennie (guest soloist w ith the New York Philharm onic and RCA recording a rtis t), Keiko Abe and Leigh Howard Stevens have brought serious attention to the solo m arim bist as a viable concert soloist. Thus, there are more m arim bists at colleges, universities and conservatories presenting m arim ba perform ances today, including concerto appearances and am bitious solo and cham ber music recitals, than at any other tim e in history. (Zeltsm an, 1997, pg. 52) U nfortunately, m any university and conservatory percussion departm ents continue to teach the trad itio n al curriculum form ulated p rio r to the surge o f solo m arim ba lite ratu re fo r the percussionist. This curriculum focuses on the study o f orchestral repertoire among tim pani, m allet instrum ents, snare drum and accessory percussion. Therefore, m any percussion students and percussion pedagogues,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
/
have not had the opportunity to study a m arim ba concerto in an academic setting. A nthony Riscica, form er A rtist-Faculty member at the Purchase Conservatory and currently C oordinator o f Fine and A pplied Arts fo r the School System o f Palisades Park, New Jersey states: because o f the m ultitude o f solo m arim ba lite ratu re , it is very im portant th at our profession have m aterial th at aids the student/perform er/pedagogue in this literatu re, (personal com m unication, July 2 1 ,1 9 9 7 ) Thus, due to the numerous percussion pedagogues who only know the trad itio n al curriculum th at focuses upon orchestral repertoire, it is im perative that teachers and students have pertinent reference m aterials to assist in the study o f solo m arim ba literature. Most com monly, one w ill refer to a score o f a given composition w hile listening to a recording of the work; o r seek the knowledge of a colleague who has perform ed the piece, a n d /o r researched its composer. One alternative strategy, would be to provide the aforem entioned inform ation as an “Instructional Video” and corresponding “Reference Study Guide” o f a p articu lar w ork and its composer. Performers, students and pedagogues, who can refer to these m aterials, w ill be able to perform , study and instruct th eir students w ith greater knowledge and confidence.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
8
Rationale The first known concerti w ritten for percussionists were composed in the late eighteenth century: Sym phony for Eigh t Tim pani and Orchestra bv Tohan Fisher (1 7 5 2 -1 8 0 7 ): P artita In C
Major; and Concerto for Oboe. Eight Tim pani and Orchestra by Georg Druschetzky (1 7 45 -18 19 ). Percussion concerti were not again w ritten u n til the year 1930, when Darius M ilhaud composed his Concerto fo r Percussion and Small Orchestra. This w ork slowly influenced other composers to w rite concertos fo r the percussionist. Prom inent works th at follow ed were: Concertino fo r M arim ba and Orchestra (1940) by Paul Creston; Eight Pieces fo r Tim pani (19401966) by Elliot Carter; and in 1956 Robert Kurka and James Basta each composed their Concerto for Marim ba and Orchestra. These and hundreds that have follow ed, provide great depth to the percussionist’s repertoire, thus promoting this person to a concert soloist. However, few o f these works bring new life and positive attention to this perform er who is com monly seen in the back of the orchestra counting measures. One such work was composed in 1986 by Ney G abriel Rosauro. His Concerto for M arim ba and Orchestra is a com bination o f Jazz and Latin rhythm ic and m elodic m otifs, and was at firs t not viewed
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
9
favorably by m any publishers. It was not u n til 1992, that Rosauro’s m arim ba concerto received recognition w ith in the profession due to Evelyn G lennie’s recording this work. Since then, it has been perform ed by more than 4 0 0 orchestras a ll over the world (N. Rosauro, personal com m unication, January 25, 2 0 0 0 ). Thus, according to Pro Percussao Publications, and M allet Works D istribution and Publishing, D r. Rosauro's concerto has become the most perform ed m arim ba concerto this decade (A. Lipner, personal com m unication, January 19, 2000). Furtherm ore, Robert Romeo, Head o f Percussion at New Jersey C ity U niversity states: "The Rosauro M arim ba Concerto is considered a state o f the a n , w orld class com position fo r percussion" (personal com m unication, June 11, 1997). This is fu rth e r supported by Russell Girsberger, form er Head Librarian o f The Percussive Arts Society The Rosauro Concerto fo r M arim ba and Orchestra is a significant w ork in the percussion literatu re. U nfortunately, there is little to no inform ation about this w ork. Research w ill fill a void in the study o f this concerto, and w ill assist future percussionists in understanding the significance and com plexity of Rosauro's music. (R. Girsberger, personal com munication, October 1 4 ,1 9 9 6 )
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
10
Empflse The purpose o f this dissertation was to design and produce an “Instructional V ideo” and corresponding “Reference Study Guide” for the undergraduate o r graduate percussion student; the conservatory o r university percussion instructor; a n d /o r for a percussionist o f an advanced caliber w ho wishes to obtain detailed inform ation on Dr. Ney Rosauro and his Concerto for M arim ba and Orchestra. These m aterials grant one the opportunity to study the technical applications o f this w ork as m any tim es as desired; to view m ultiple cam era angles o f the soloist perform ing this work; to hear and see a complete perform ance o f this composition; and most im portantly, to understand the com poser’s intent through a personal interview . The “Reference Study G uide” provides fu rth e r biographical inform ation about the composer and his com position, a suggested practice regimen, and notated excerpts o f those perform ed in the “Instructional V ideo.” Therefore, this dissertation provides percussion students, perform ers and pedagogues who intend to study, perform and or teach this w ork, a reference source o f pertinent inform ation about D r. Rosauro and a detailed perform ance analysis o f his Concerto for M arim ba and Orchestra.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
11
II - Related L iterature
To accomplish the purpose one must locate and examine literatu re that delineates two aspects: the progressive growth of the m arim ba w ith its historical developm ent, cultural ties and origins in A frica and Guatem ala; and the m ajor composers who helped develop the percussion concerto to its current prom inence. In addition, pertinent inform ation on D r. Ney Rosauro and his Concerto for M arim ba and Orchestra is also addressed. O ther lite ratu re was reviewed th at addressed applications o f modeling in conjunction w ith instructional video design pertaining to pedagogical applications in music. This literature denotes the benefits o f these means o f instruction in the classroom, studio, rehearsal and perform ance review. Since this dissertation focuses on Dr. Ney Rosauro and his Concerto for M arim ba and Orchestra, aspects o f the following literatu re have been applied to the developm ent and design o f this study.
Ths-Marimba The inception o f the m arim ba dates back to prehistoric times. Since then, the m arim ba has been a building block and common tie
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
12
to m any cultures. The earliest prehistoric version o f the m arim ba was discovered in 1949 by French ethnologist, Georges Condominas w hile surveying Indochina. N ear a Vietnam ese village, called N dut Lieng Krak, he discovered th at large gray stones extracted by workers were a prehistoric lithophone, consisting o f eleven keys o f schistic rock. The largest stone weighed tw enty-five pounds, was fo rty inches in length, six inches w ide and two inches thick. The sm allest was tw enty-six inches in length. This is considered to be the oldest pitched instrum ent in existence. This huge m arim ba, thought to have been played by Stone Age M en, is said to be four to five thousand years old. (Jacob, 1973, pg. 32) The firs t recorded reference to the instrum ent was made in thirteenth century M ali; and through the years there have been accounts o f various form s o f the instrum ent in A frica and Southeast Asia. The w ord m arim ba is derived from the Bantu Language and th at the suffix ‘im ba’ means to sing. ‘Rimba’ in Bantu can define a single-note xylophone in M alaw i or M ozam bique and that ‘ma’ is a p lu ral prefix. Therefore, m arim ba can mean a com plete instrum ent made up o f num erous in d ivid u al keys. (Kaptain, 1995, pg. 240) The A frican xylophone was introduced to the Americas by A frican slaves. The original instrum ent had sixteen gourds o f d ifferen t tones. This xylophone became the m odel upon which the Guatem alan m arim ba was developed. The tie between these
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
13
instrum ents is the vib ratin g m em brane attached to the resonators. This membrane is placed at the bottom of the resonators, and is present in all C entral and some South Am erican m arim bas. Africans are known to use spider cocoons, o r cigarette paper, w hile Latin Americans usually use pig o r sheep intestine to create a buzzing sound (Kaptain, 1995, pg. 240). Progress in the continuing developm ent o f the m arim ba occurred in Guatem ala. The m arim ba has the distinction o f being exclusively a product o f the Americas, p articu larly Guatemala, in its fin a l perfection. During the slave trade, the Venda and Chopi instrum ents were probably the ones to be taken to Guatem ala. Although inform ation o f the marimbas introduction in to the New W orld is very incom plete, the popular b elief is th a t it coincided w ith the slave trade o f the 1500’s and 1600’s. (Jacob, 1974 b, pg. 122) The oldest o f the Guatem alan marimbas is the m arim ba con tecomates. This gourd m arim ba has been w idely used since 1737. The m arim ba con tecom ates is produced w ith two d iffe re n t yet sim ilar styles. The firs t o f these diatonic instrum ents is the m arim ba de arco, which is believed to be a d irect descendant o f the A frican xylophone or m arim ba. The instrum ent has no legs. Instead it has a piece o f cherry o r birch wood th at is bent into an arch that is fastened to the end o f the instrum ent. The second style, unnam ed, has four legs in place o f an arch. An essential characteristic o f this instrum ent is the elongated hollowed gourds th at are used as resonators. The low er and m iddle pitched gourds contain a vibrating
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
14
m em brane which is attached at the bottom w ith beeswax. This membrane, used to create a buzzing sound, is obtained from the intestine o f either a pig or cow. In 1874 Sebastian Hurtado o f Guatem ala, perfected the chrom atic m arim ba, otherwise known as the m arim ba doble. Hurtado replaced the common gourd resonators w ith wooden boxes and increased the instrum ents range to five and one h alf octaves. This was the first instrum ent produced th at was not the standard diatonic m arim ba con tecamotes. The chrom atic m arim ba was fu lly developed by 1894 w ith a range o f six and one h a lf octaves. This instrum ent became quite popular throughout Guatemala and Central Am erica. In Guatem ala it is regarded as the national musical instrum ent (Jacob, 1974 b, pg. 126). Europeans considered the m arim ba too p rim itive and ignored it u n til the 1920’s. However, the U nited States became the first country to m anufacture the m arim ba com m ercially by initiating research on this instrum ent between 1910 and 1920. In contrast, the Guatem alan marimbas were privately produced and made to order.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
15
Characteristics o f The Modem Instrum ent
The standard m arim ba o f today is constructed on the same principle as the Guatem alan m arim ba doble. Its fram e is wood, but the North Am erican m arim ba may use metaL In p articu lar, the legs o f the instrum ent, and at times the fram e may be constructed o f an alum inum alloy. The tim bre o f a bar is determ ined by the type o f m aterial that is used to produce the bar, such as hard or soft wood, and or synthetic m aterials. Hardwood tends to generate higher partials, and w ill ring longer than a softwood bar. Synthetic bars have a tendency to sound very bright and glassy, ringing longer than a hardwood bar. The most desirable wood fo r the bars is the center wood (heart wood) o f very old rose wood trees. The o lder the source tree, the more dense w ill be its heart wood, and the more resonant and durable w ill be the bars derived from it. (Cahn, 1995, pg. 347) There are a num ber o f factors th at determ ine a bar’s pitch, such as the length, thickness and density o f the bar. For example, the longer, th in n er and denser a bar is the lower its pitch; where as the shorter, thicker, and less dense a bar is, the higher its pitch. The way a bar resonates is affected by the m anner in which the bar is resting. A bar must be supported at its prim e nodal points in order fo r it to vibrate freely. Am plifying or enhancing a bar’s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
16
resonance is accomplished by placing the bar over a resonator. In turn, the resonator acts as a sym pathetic vib ratin g a ir chamber. Resonators produced in N orth Am erica, Europe and Japan w ill generally be a closed tube resonator usually m ade o f brass or alum inum , plated w ith eith e r nickel or chrom e. Each resonator must be tuned to allow the contained a ir to vib rate at the same frequency as its coinciding bar. G enerally speaking, the larger and o r longer the resonator, the lower the pitch. In addition, the g reater the am ount of a ir present in a resonator, the louder the sound th a t is produced. By enlarging the diam eter o f a closed tube resonator, one may attain more volum e w ithout alterin g the instrum ent’s pitch. This same affect m ay be attained by placing two identical sized resonators under a given bar. John Calhoun Deagan, an English bom clarinetist who arrived in the U nited States in 1879, was responsible fo r redesigning and em ploying new scientific means in the production o f the m arim ba. He ensured a bar’s accuracy o f pitch; its consistency o f sound; and proper alignm ent w ith its resonator. His com pany, although defunct, was the firs t to m anufacture a m arim ba w ith the characteristics we see today. C lair Om ar Musser was also a m ajor m anufacturer o f this instrum ent. His company m anufactures m arim bas and other m allet instrum ents today. U nlike Deagan, Musser was a m arim bist himself.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
17
He and Vida Chenoweth were responsible for bringing the marim ba to the forefro n t as perform ers and educators. Musser prom oted large scale m arim ba ensembles, draw ing masses tow ard the instrum ent, and taught as a m arim ba specialist at Northwestern U niversity’s School o f Music in the 1940’s and 1950’s. W here as Chenoweth’s artistry, m usicianship and care w ith her rep erto ire resulted in h er transcendence o f public skepticism about the m arim ba as a serious m edium fo r expression. In response to her landm ark recitals in the late ‘5 0 ’s and early ‘60’s critics rem arked th at she had accomplished fo r the m arim ba w hat Segovia had for the guitar. (Zeltsm an, 1997, Pg. 52) Together these artists and m anufacturers were essential to the developm ent o f the physical characteristics o f the instrum ent. But more so, they were the foundation for prom oting educational venues; commissioning new literatu re; as w ell as expounding upon the technical skills necessary to perform this new lite ratu re . Thus, they were the catalyst fo r this new literatu re, technique and instrum ent that has become a m ajor elem ent o f the percussionist’s study. Developm ent o f The Solo Percussionist
The emergence o f the solo percussionist is s till in its infancy when com pared to th at o f a pianist o r violinist. Musser and Chenoweth were certainly responsible fo r prom oting the m arim bist as a concert soloist in the m id part o f the 20th century, but credit fo r
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
18
the emergence o f the percussionist as a soloist w ould have to be given to Darius M ilhaud for composing his concerto for percussion and cham ber orchestra. This w ork, along w ith others composed by Stravinsky, Varese and Ives denoted the beginning o f the Golden Age o f Percussion. The Golden Age o f Percussion, as the international Percussive .Arts Society has term ed the m iddle p art o f the 20th century, has perhaps passed. A general d efin itio n o f any golden age is th a t period in which the a ctivity o f the discipline or a rt in question matures in a pervasive aspect. The fin e a rt o f percussion music did indeed come o f age during the past few decades: th a t is, there came about an explosion o f lite ratu re and extrem e diversification w ith in the field, as w ell as specialization by many individuals. (Larrick, 1989, pg. x iii) The earliest known concertos composed fo r a percussionist were w ritten fo r tim pani during the 18th and early 19th centuries by Johann Carl Christian Fischer and Georg Druschetzky. Though it should be noted that George Kastner in his Methode Complete et Raisonee de Tim bales (ca. 1845) recounts that in the firs t p art o f the century, the firs t tim panist in Berlin executed a concerto fo r tim pani that used ten d ifferen t drums and pitches, and th a t he ran from one drum to another on a kind o f gallery, threw his sticks in the a ir, and made the most extraordinary movements w ithout his playing suffering. (Powley, 1987) Prior to 1792, Johann Carl Christian Fischer composed his Symphony fo r Eight Tim pani and Orchestra. Bohemian composer Georg Druchschetzcky, composed two concertos fo r the solo tim panist. First was his Partita in C M aior fo r Six Tim pani and
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
19
Orchestra, followed in approxim ately 1800. bv Concerto for Oboe. Eight Tim pani and Orchestra. Composers p rio r, during and after this period wrote fo r tim pani to be perform ed in a cham ber o r symphonic setting, accompanying and accentuating specific points w ithin the com position. These compositions were neither technically or musically dem anding o f the percussionist It was not u n til Beethoven’s symphonies th at created a new purpose and significance fo r the tim panist. The Beethoven tim pani parts essentially ushered in the m odern era o f western classical music fo r the tim panist, requiring more o f this perform er in term s o f m usicality and technique than had been required previously. M any o f the principles o f good percussion w riting as introduced by Beethoven hold true today. (Larrick, 1989, pg. xiv) The rapid growth o f the golden age o f Percussion began in the early part o f the 20th century by such composers as Charles Ives, Igor Stravinsky, Edgar Varese, Darius M ilhaud, Elliot C arter and Paul Creston to name but a few. T h eir compositions dem anded greater musical and technical skill o f the percussionist as a concert soloist, chamber m usician or orchestral perform er. Darius M ilhaud’s Concerto for Percussion and Small Orchestra, completed in Paris in 1930, is a most im portant w ork to the m odem percussionist. W ritten at a tim e that m ajor composers were introducing an increasing am ount o f percussion activity in to western classical music, the concerto was yet another step in the m aturing o f the percussion art. Igor Stravinsky and Charles Ives had included considerable percussion activity in some o f th eir orchestral works w ritten
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
20
in the firs t two decades o f the new century, and Stravinsky had included the m ultipercussionist in his cham ber music entitled The Soldier’s Tale o f 1918. It was le ft to M ilhaud to produce an historically im portant concerto fo r the solo multipercussionist, accom panied by small orchestra....Thus the tone color revolution begun in the 19th cen tu ry by such composers as Berlioz, Rimsky-Korsakov, Tchaikovsky, and Gustav M ahler was entering perhaps a clim actic stage now that the percussionist was being expected to become a soloist o f virtuosic caliber. (Larrick, 1989, pg. 107) Though the height o f the Golden Age o f Percussion has passed, the num ber o f compositions w ritte n for the percussionist has not dim inished. M any o f these compositions are not as in flu en tia l to the technical, o r musical developm ent o f the percussionist as did the works o f M ilhaud and Stravinsky, but they create a g reat interest for the percussionist and the audience. One such composer is Ney Rosauro. His com positions have been perform ed by some o f the w o rld ’s leading artists an d orchestras. Such renowned artists and orchestras that have p erform ed his works are: Evelyn Glennie, Sevrin Balzer, The London Sym phony Orchestra, Kammersolisten Zurich, The Houston Ballet, Scottish Symphony Orchestra, Bayerisher Rundfunk, The Colon Theater, NHK Television Tokyo and the BBC in London. Ney G abriel Rosauro was bom in Rio de Janeiro, Brazil on October 24, 1952. He began his musical studies on the g u itar and double bass. A t eighteen Rosauro le ft home and supported him self
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
21
by playing the electric g u itar, bass and m andolin in Brazilian nightclubs. From 1972 to 1978 Rosauro studied composition and conducting at the U niversity o f Brasilia. D uring this tim e he taught percussion at the Brasilia School o f Music, w hile perform ing as the principal tim panist and principal percussionist fo r the National Theater Orchestra o f B razil. Along w ith his studies at the U niversity o f Brasilia, and his active teaching and perform ing schedule, Rosauro studied percussion under Luiz D’Anunciacao o f the Brazileira Symphony Orchestra in Rio de Janeiro. Since 1987 he has been a professor a t the Federal U niversity o f Santa M aria in South Brazil. Today, Dr. Rosauro is the Head o f the Percussion Departm ent. He was the D irector o f the School o f Music from 1988 to 1989. In 1990 Rosauro was nam ed Musician o f The Year by the Musical Press o f South Brazil fo r his solo album M arim ba Brasileira. and has been a guest perform er conducting m aster classes w orld wide. Rosauro furthered his academic studies by obtaining his Master’s Degree at the Hochschule for Music in W urzburg, Germ any, studying percussion and pedagogy under the direction o f Professor Siegfried Fink. In 1992, Rosauro obtained his Doctor o f Musical Arts Degree in Percussion, under the close tutelage o f Professor Fred W ickstrom at the U niversity o f M iam i.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Since 1982, Rosauro perform ed as a concert soloist while organizing percussion ensembles for his students. Recognizing the lim ited number o f percussion method books published in Brazil, Rosauro utilized his com positional abilities to create such books for his students (A com plete listing o f his pedagogical works may be found in Appendix A, Reference Study G uide). In 1986 Dr. Rosauro composed his Concerto fo r Marim ba and Orchestra. This four movement work, which is dedicated to his son M arcelo, was at firs t not favorably viewed by many publishers, p rim arily because percussion compositions at that tim e were expected to be composed in an Avant-Garde, or A-Tonal style. Rosauro and his composition were brought to new heights when w orld renowned percussionist and recording artist, Evelyn Glennie, recorded and video-taped this concerto in 1992. Since Ms. Glennie’s recording, more than 400 orchestras w orld wide have perform ed the concerto. This is in addition to his arrangements for percussion ensemble, piano reduction and Dr. Thomas McCutchen’s arrangem ent for concert band. Thus, Rosauro’s Concerto for Marim ba and Orchestra is the most perform ed and recorded m arim ba concerto o f the decade, and arguably o f this century (Weiss, 1999, pg. 59). His compositional approach to percussion differs from prom inent percussion composers o f the 20th Century. Such
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
23
composers as George Crumb, Charles W uorinen, and Percussive Arts Society H all o f Famers John Cage and Lou Harrison have presented percussion music p rim a rily in an Avant-G arde style. They em ploy one o r more o f the following: tw elve-tone row composing; continuous m etric m odulation; complex polyrhythm ic musical statem ents; or stretch the technical range by increasing the am ount o f instrum ents a percussionist m ay be required to perform at once. Rosauro stresses th at his music is w ritten w ith the percussionist in m ind firs t and forem ost. Secondly his focus is how to best represent essential aspects o f musical expression: dynamics; tonal or modal m elodies and harm onies. Before I publish any o f m y pieces, I have played them several times and m ade any necessary corrections to make the music fit the keyboard perfectly.... M y music has a lot o f feeling to the phrases. Students w ill learn how to play ritardandos, accelerandos and also how to develop expression on the keyboard. Too m any pieces focus just on notes, so students don’t have the chance to make nice music and enjoy the beauty o f it. (Weiss, 1999, pg. 6 0 ) International recording a rtist Evelyn Glennie elaborates fu rth er on the im pact Rosauro’s music has upon the perform er, as w ell as his audience: I have never view ed Ney Rosauro’s pieces in an academ ic way sim ply because the im m ediacy o f the harmonies and the rhythm ic flare is so em otional and at times infectious. It is so easy for an audience to leave a concert humming a ren d itio n o f the 4th m ovem ent o f the M arim ba Concerto on firs t hearing. His music has a strong em otional tug fo r me where
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
24
one can com pletely dismiss about the mechanics o f playing....There is always a lovely physical line in Ney’s Pieces w here the m ovem ent o f the player can be as flow ing and dynam ic as the music itself. There is never a feeling o f a physical struggle, o n ly a childlike exuberance....Having perform ed his pieces m any tim es, p articu larly th e m arim ba concerto, 1 never tire o f it....F or me th ey are not pieces that I physically practice often but they continually circulate in my m ind where I can delve into the in terp retatio n as I w ish....W ith Ney’s pieces one can take chances o r one can be tam e and reserved but a ll th e tim e there is a n atu ra l lilt fo r each player to feel com fortable w ith . Ney’s pieces are little gems. (E Glennie, personal com m unication, August 29, 1997) The foundation created by these composers serve as the building blocks o f the percussionist’s rep erto ire and a rtis try . T heir w ork defines many o f the avenues th at a percussionist follows today: recitals; concerto appearances w ith orchestras; jazz performances; transcriptions and composing fo r this instrum entalist; and furth erin g the musical, technical and pedagogical developm ent o f the percussionist. Thus, these aforem entioned composers have been essential in elevating the percussionist to the level o f a recording artist, recitalist and concert soloist
Modeling and Video Instruction M any music educators rely upon the technique o f m odeling for th e ir students, especially in perform ance o rien ted classes. Students who can observe an instructor; listen to a recording; o r view an
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
25
instructional video o f a composition or technique being studied, are exposed to proper concepts o f sound, m ovement and phrasing. Furtherm ore, modeling enables the educator to present correct examples o f perform ance, w hile correlating and dem onstrating to the student an incorrect performance. M odeling has also been shown to affect children’s preferences for appropriate and inappropriate renditions o f a musical perform ance, children’s expressive m ovem ent, children’s ab ility to recognize examples o f musical concepts, and young instrum entalists’ reduction o f pitch errors, mistakes in weekly lesson assignments, and im proved pitch m atching skills. (Rosenthal, 1984, pg. 266) Dawn S. Baker o f the West V irg in ia U niversity C reative Arts Center, in a 1980 study to determ ine if students, who are presented appropriate models o f perform ing a lullaby, prefer hearing the lullaby as dem onstrated; and would those students who were not presented the same lullaby in an appropriate m anner, prefer a correct perform ance o f the composition m ore so than the inappropriate version taught. Thus, do students learn to appreciate a given w ork based upon how it has been presented by the instructor or do students innately know the correct m anner in w hich a given composition should be perform ed. T h irty-six th ird grade students, and th irty -n in e fo u rth grade students participated in this study. Each grade was divided into two groups: Class A (A ppropriate) o r Class I (In ap p ro p riate). Both groups
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
26
were presented seven lessons th at covered dynamics, tempo, creative and listening activities. These classes were to insure that the students participating, regardless o f section, could properly determ ine the concepts o f loud-soft, fast-slow and term inology associated with these concepts. Testing consisted o f students listening to tape models o f the assigned lullabies, appropriate and inappropriate versions, fo r approxim ately twelve m inutes. A dditional classes were conducted to reinforce these modeled lessons eith er by students singing alone, w ith the tape, or w ith the instructor. D uring each lesson the observer incorporated m arked cards: “A” (approval) and “D” (disapproval). The experim enter indicated which cards were befitting the exercise o r w ork conducted in class. At the end o f the class, the observer calculated the total cards. Based upon this process, Baker concluded that singing in an elem entary setting does im pact significantly on a student’s learning process. Furtherm ore, students are greatly im pacted upon w hat and how th eir teacher presents the m aterial. Therefore, Children can learn to “like” hearing the songs perform ed the way they sing them in class; children learn th at the way they are guided in singing the songs is the “correct” way to perform them . Because learning takes place consistent w ith the in class performance m odel, the question o f appropriateness o f that model is crucial. C hildren w ill learn; w hat they learn is in the hands o f music educators. (Baker, 1980, pg. 14)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
27
In the sum m er o f 1982 Rosanne Kelly Rosenthal o f the VanderCook College o f Music, conducted a study com prised o f fortyfour graduate and upper level under graduate students who eith er m ajored in brass or woodwinds, and were enrolled in the B.M.Ed. or M.M.Ed. programs at VanderCook. The purpose o f this study was to examine the effects o f guided m odel, model only, and practice only treatm ents on the accuracy o f the participant’s perform ance. Those students who participated in this study were divided into four groups: 1) guided m odel, a combined verbal and aural exam ple o f a musical selection; 2) model only, and aural exam ple only; 3) guide and verbal explanation only; and 4) practice only. Etude No. 22. by C. Kopprasch was the musical piece perform ed by the participants, and was presented as an audio recording perform ed by a violinist to those in the m odeling groups. A ll participants in the three experim ental groups w ere asked to listen to the recording, followed by each participant practicing the etude for three m inutes. Those students assigned to the practice only group were given ten m inutes to practice the etude. Once the participant com pleted the assigned practice period, each was asked to perform the w ork once w ithout being recorded, follow ed by a second perform ance recorded on cassette. Each participant’s perform ance was evaluated fo r correct notes, rhythm , tem po, dynamics, phrasing and articulation.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
28
This study determ ined that the most effective o f these models was that which com bined a verbal direction w ith a modeled dem onstration. Based on these findings, Rosenthal states that: Results o f this study have im plications for music teachers who choose to use m odeling from tim e to tim e in th e ir private instruction and in th e ir ensemble rehearsals: d irect modeling, w ithout any added verbiage, m ay be most effective in helping a student perform accurately. If the teacher chooses to provide a verbal explanation, then it may be most effective if it is done in conjunction w ith a direct model; verbal explanation isolated from a d irect example does not appear to have any im m ediate benefits fo r perform ance accuracy. (Rosenthal, 1984, pg. 272) Another study conducted at VanderCook College o f Music by M adeline Evans, Larry G reenw alt, Roseanne K. Rosenthal and M ary W ilson, focused on sixty graduate and undergraduate woodwind and brass students during th e sum mer o f 1985. The purpose was w hether d ifferen t practice conditions effected an advanced instrum entalist’s accuracy o f perform ance. Those students who participated in this study w ere asked to review the notated music on th e ir stand: Etude No. 96 by P. Bona. A fterw ard, they listened to a recorded perform ance o f this etude perform ed by a violinist, followed by each p articip an t perform ing the etude. Prior to the participant perform ing the w ork, each was free to ask questions and had the opportunity to practice the work. Each perform ance was
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
29
recorded and analyzed fo r correct notes, rhythm s, articulation, phrasing o r dynamics, and tempo. The study concluded that listening to a m odel alone, w ithout the opportunity to practice the w ork, appeared to be no more effective than one practicing the w ork w ithout hearing a perform ance o f i t Thus, those students in the control groups who did not listen to a recording, but d id have the standard three m inutes to practice the etude, did not fa ir as w ell as those students who did. Evans, Greenwalt, Rosenthal and W ilson fu rth e r state th at The results o f this study m ay have some practical im plications fo r students and teachers. Providing a m odel o f the music to be learned seems to be effective in helping students m aster musical compositions and thus seems to be a technique that music teachers can use to good advantage during a rehearsal or lesson. The finding o f positive outcomes in this study after only a 3-m inute practice treatm ent lends support to modeling’s efficiency. (19 94 , pg. 371) Most music educators agree that incorporating musical models is a most effective means o f im proving the student’s learning. U nfortunately, m any who teach instrum ental music lack the expertise to effectively m odel a ll the instrum ents th at are taught in th e ir curriculum . In addition, parents, who w ill most com monly assist th e ir children w ith th e ir hom ework in o th er course areas,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
30
usually are not able to provide such assistance when th e ir child is practicing th e ir instrum ent (Linklater, 1997). Even though music is an aural a rt form , there are many visual aspects inherent to music perform ance. For example, the perform ers’ body language and facial expressions, the d ifferen t instrum ents, the conductors’ gestures, and the motion and rhythm o f perform ing on instrum ents a ll contribute to the effectiveness o f a m usical perform ance. For these reasons, observing videotaped perform ances would appear to be a very realistic and valuable means fo r studying music. (Bumsed & Etters, 1997, pg. 13)
Classroom and Applied Settings In 1979 W illiam A lbin conducted a study en titled , “The Developm ent o f Videotaped Instructional Units fo r Teaching Selected Aspects o f M allet-Played, Latin Am erican, and Accessory Percussion Instrum ents.” This study tested three videotaped instructional units th at were designed to teach basic technical skills fo r m allet percussion instrum ents; Latin Am erican percussion instruments; and accessory percussion instrum ents. The developed m aterial was field tested to exam ine the effectiveness o f the instructional units by three groups of subjects: college level music education students w ho were non-percussionists; high school and college percussionists who w ere inexperienced in m allet-played, accessory, and Latin American percussion instrum ents; and secondary school instrum ental music teachers. The m aterial was designed for subjects who read standard music notation but d id not have prior technical skills on m allet-played, accessory, o r Latin American percussion instrum ents. (A lbin, 1979, pg. 7)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
31
Prior to A lbin testing his videotaped curriculum , he reviewed oth er studies th at pertained to videotape instruction in an applied setting for violin and piano (i.e., Burton Kaplan, 1968, “The Videotape Recorder: An Invaluable String Teaching Tool"; Norm an Burgess, 1973, “The A pplication o f a S elf-Instructional M ulti-M edia Approach to Teaching V iolin in a College String Techniques Course”; Billie W . Erlings, 1973, “A Design fo r Em ploying Instructional Television in The First Term o f College Functional Piano, Developed in a Comprehensive M usicianship Program ”). Each o f these studies incorporated a videotaped curriculum to aid student com prehension o f th e ir own errors; to determ ine th a t students taught w ith a videotaped curriculum progress as ra p id ly as those students who are taught in a trad itio n al m anner; to determ ine that students who study w ith a videotaped o r televised curriculum are able to im itate w hat has been dem onstrated im m ediately, and are able to attain a m ore detailed view o f th e m aterial being presented by the instructor. Albin thus determ ined through this research, and again p rio r to testing his study, th a t the benefits o f a videotaped m ethod were the following: 1. media productions that u tilize m ovement are the most effective fo r teaching m otor skills th a t involve movement; 2. video-tape is the sim plest means o f presenting m ediated instruction in a classroom setting; 3. video-tape can present a more concentrated and effective dem onstration than live action through the use o f close-ups and other special effects;
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
32
and 4. video-tape insures a vivid, realistic presentation o f the action. (Albin, 1979, pg. 3 4) A lbin conducted his field test during the summer and fa ll o f 1978 to determ ine the effectiveness o f his curriculum . Non percussionists who were enrolled in the Percussion Techniques Class at M iam i U niversity (Ohio) served as the subjects fo r Test Group One. Percussionists in high school and college who lacked experience in m allet-played, accessory and Latin Am erican percussion instrum ents served in Test Group Two. Test Group Three consisted o f instrum ental music teachers w ho taught in South Western Ohio and graduate students a t M iam i U niversity who had p rio r teaching experience. A ll who participated read standard musical notation. Test Group One viewed the m aterial in a class o f five to seven participants. Test Groups Two and Three viewed the m aterial privately. The musical examples and exercises w ere provided in a w ork book w ith perform ance instructions. In addition, all participants were required to take part in videotaped dem onstrations and perform ances. The perform ance tests were videotaped and evaluated by a fo u r judge panel. These evaluations, along w ith those o f students, determ ined the teaching effectiveness o f the units, and w hat aspects needed revision. At the conclusion o f Professor A lbin’s study he determ ined the following:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
33
1. A videotape curriculum for teaching m allet-played, Latin Am erican, and accessory percussion instrum ents can be developed and utilized to teach college music education students (non-percussionists), inexperienced high school and college percussion students, and public school instrum ental music teachers. 2. A fter exposure to the video curriculum , subjects were able to dem onstrate an above adequate level o f perform ance skills on the m arimba, cowbell, and tam bourine; an adequate level o f perform ance skills on the triangle and guiro; however, a below adequate level o f perform ance skills was recorded on the maracas, ganza, claves, and cymbals. 3. The in ter judge re lia b ility coefficients suggest that there was sufficient agreem ent among the judges on the perform ance skills evaluations. 4. Subjects who w orked w ith the tapes p rivately seemed to learn m ore efficiently and effectively from the videotape units than subjects in Test Group One. 5. A fter exposure to the video curriculum , subjects were able to dem onstrate a b etter general knowledge o f m alletplayed, Latin American, and accessory percussion instrum ents. (Albin, 1979, pg. 95)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
34
For the 1 9 7 4 -1 9 7 5 school year, the Fayette County Board o f Education, along w ith the Division o f Creative A rts at the W est V irg in ia In stitu te o f Technology, im plem ented a video-taped instructional m ethod fo r applied lessons at selected Fayette County Public Schools. Students’ instrum ental lessons were taught by video tape on the follow ing instrum ents: flute, clarinet, oboe, saxophone, trum pet, trom bone and percussion. The tapes w ere designed to provide 20 m inute group lessons th at covered correct em bouchure, tone production and proper fingerings. During the lesson a m edia specialist played each tape and video-taped the students as they observed and w orked w ith the videos. The instructors w ere then able to evaluate each o f the student tapes. During the sum mer o f 1975 th irty -n in e students from the four schools attended a one-week music enrichm ent program th at measured th e ir progress over the previous year. As a basis o f com parison sixteen students from other schools not participating in the video-tape program attended. A team o f in tern ation ally recognized evaluators, along w ith principals, adm inistrators, parents and students review ed the child ren to gauge the success o f the program . The evaluation rep o rt revealed th a t everyone was impressed by the innovative nature o f the project, the overall q u ality o f the lessons, and the students’ progress. (M eyer, 1976, pg. 30) The video-tape recorder has also been used successfully in other settings o f music instruction. Video-tape puts greater emphasis on conducting patterns and stage presence. The studio teacher may u tilize this m ethod to stress the benefits o f proper hand
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
35
positions and technique. The student teacher is greatly assisted by obtaining instant feedback on the d elivery o f m ethods, m annerism s and o verall approach w ith students. Through the use o f the video-tape recorder the student can be introduced to the correct m anner o f developing a skill, especially a m otor skill, through im itation. The student m ay view the teacher correcting the student o r he m ay view the teacher o r an accom plished musician executing the skill correctly. Tied in w ith this type o f instruction, the student m ay view the teacher correcting him , and thus he can w atch the taping o f the com plete process o f incorrect behavior, m odification o f behavior, and correct term inal behavior, a ll through im m ediate feedback. (Rodabaugh, 1971, pg. 70) The placem ent o f the video cam era is o f most im portance. The m edium fo r which a camera is used determ ines its placem ent. For exam ple, in a large rehearsal setting a band d irecto r m ay consider placing a cam era on a tripod w ith wheels. As the rehearsal progresses, the camera operator m ay slowly go around the room taping individuals as well as sections. In a conducting class, the in stru cto r may wish to place cameras around the stage and in the audience. In turn, the conducting student w ill obtain invaluable inform ation as to how the orchestra members and the audience are view ing h is /h e r m annerisms. Taking the video-tape equipm ent in to the p rivate studio has proven equally as p ro fitab le. The percussionist studying technical problem s can easily observe his weaknesses w ith the instant replay o f the recorded tape. Perhaps the w rists are too rig id o r the hand position aw kw ard. He can see these things fo r him self, and can correct the problems more easily. For the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
36
w ind player, observations on m outhpiece placement, movement o f the jaw , body movements, and finger d exterity can be made. He can watch for embouchure form ation and observe general posture and breathing habits. The string player can w atch his bow arm and the path o f the bow. The unique advantage o f all this is th at a perform ance sequence can be replayed w ith in seconds and repeated as often as desired. (Daellenbach, 1967, pg. 26) The use o f the video-tape recorder has been essential to m arching band directors. Students can see how their foot position, knee lift, body posture and alignm ent contribute to the bands routine. An instructor m ay consider cataloging a series o f tapes made throughout the m arching season. These tapes can show the ensembles im provem ents, as well as w here m ore attention should be given during rehearsal (Vezzetti, 1971, pg. 55). Video instruction encompasses the benefits o f m odeling a given technique. It is also an im portant pedagogical tool that perm its a student to observe, and rectify problem atic areas in h is /h e r perform ance as seen through the eyes o f the instructor. Students soon realize that videotaping allows them to pay attention to details that otherwise m ight go unnoticed. Posture, hand position, embouchure placement, and tone q u ality are ju st a few o f the objectives th at can be review ed and tested in this way. To extend the learning experience, students may critiq u e other students’ performances. (W hite, 1999, pg. 68) In 1989 Robert G illespie conducted a study to determ ine if students preferred studying violin methods by a video presentation
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
37
or traditionally w ith an instructor. The participants o f this study were fifty-eig h t undergraduate students enrolled in the string methods course a t Ohio State U niversity, and had little or no previous instruction in this applied area. The study consisted o f tw o groups receiving the same course content and instruction. The difference was that Group A received instruction in a trad itio n al m anner, w hile Group B was presented a videotape th at covered the same m aterial, this being detache bowing. Students in Group B were provided w ith a training booklet w ith w ritten criteria o f exem plary perform ance behaviors. In addition, these students were perm itted to review any p art o f the videotape w ith in the confines o f an established tim e period during the training sessions. At the end o f both groups’ study a test was adm inistered. This test was a videotape th at presented th irty-o n e common perform ance problems on the vio lin . The answer key required the participant to id en tify the problem and select the appropriate solution. Test results indicated that there was no significant difference between the two test groups, nor d id the m anner in which the inform ation was presented affect the students developm ent. Gillespie concluded that: supplem ental video m aterials could be assigned fo r outside o f class study, saving in class tim e fo r other pedagogy instruction and perform ance activities. However, the study also reveals that students strongly p refer teacher involvem ent in th e ir
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
38
diagnostic training. In o rd er to m aintain positive attitudes, a com bined approach o f both teacher and video instruction may be necessary and effective. (G illespie, 1989, pg. 92) Fraser Linklater, Assistant Professor o f Music Education a t the Brandon U niversity School o f Music in M anitoba, Canada conducted a study in 1994 to determ ine and com pare the benefits o f audio cassette and videotape models in facilitatin g beginning clarinet students perform ance achievem ent. The subjects o f this study were 146 fifth and sixth grade beginning clarin et students from six suburban and ru ra l com m unity school districts. The students were divided in to three test groups. Test group one received a videocassette th at contained visual and aural models fo r clarin et along w ith accom panim ent for the w ork being studied. Test group two received an audio cassette th at provided an aural m odel fo r the clarinet as w ell as accom panim ent. Test group three, w hich was considered the control group, received an audio cassette that only contained accompaniment. L in klater’s objective was to determ ine if a videotaped m odel o f a professional clarinetist perform ing and dem onstrating a given piece o f music w ould increase students* retention o f perform ance skills; and to see if there would be an increase in parental involvem ent. For a ll three variables, the nonm odeling audiotape group had the lowest means, m oreover, there is a difference o f over
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
39
12 m inutes o f average practice each week between the m odeling videotape non modeling audiotape groups and a difference o f alm ost 9 m inutes o f average parental help each week between the m odeling videotape and nonm odeling audiotape groups. Differences in both cases favored the m odeling videotape group. An exam ination o f the mean scores fo r the three tape groups also showed th at the m odeling videotape group tended to have the highest scores, follow ed by the m odeling audiotape group, w ith the nonm odeling audiotape group having the lowest mean scores. (L in klater, 1997, pg. 410) C. Vernon Bumsed, Associate Professor o f Music a t V irg in ia Polytechnic In stitu te and State U niversity in Blacksburg, V irg in ia and Stephen Etters, Associate Professor o f Instrum ental Music a t W ingate College in W ingate, N orth Carolina conducted a study o f 108 eighth grade and 47 tw elfth grade music students chosen random ly from school districts o f N orth Carolina, South Carolina and Virginia. The purpose was to determ ine if video-tape perform ances can effectively develop one’s understanding o f the elem ents o f music. A ll o f the students who participated studied instrum ental music and had an understanding o f the elem ents o f music. The participants were d ivid ed into experim ental groups and control groups. The experim ental groups viewed four d iffe re n t video-taped musical perform ances, w hile the control groups only listened to the same fo u r perform ances from an audio cassette. Prior to view ing a n d /o r listening to the audio and video tapes, each o f the participants were free to ask any questions before and a fte r the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
40
elem ents were defined: melody, form , texture, m eter, rhythm , harm ony, tone color, tempo and dynamics. Dependent upon to which group one was assigned, the participant was asked to either view o r listen to the performances p rio r to being taught the definitions o f the elements. A ll o f the participants viewed o r listened to the same perform ance a second tim e, follow ed by a w ritten test to determ ine if the experim ental group found it easier to identify the elem ents o f music in comparison to the control group which only listened to the perform ance w ithout any visual accompaniment. This study determ ined that there was no significant difference between the experim ental group o r th at o f the control based upon the percentage o f correct answers. The study did fin d that those students who participated in the experim ental group had a higher degree o f sensory stim ulation. In tu rn , recommending that music educators should consider the results o f this study when selecting a presentation form at for listening activities. A videotaped perform ance m ay actually stim ulate more response even though this response may not be correct....Thus, music educators may want to u tilize videotaped performances as an in itia l step fo r introducing new music. (Burnsed & Etters, 1997, pg. 17)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
41
Application To This Study
The m aterials designed fo r this dissertation on D r. Ney Rosauro and his “Concerto fo r M arim ba and Orchestra,” are based upon, and com bine, those areas o f video instruction and modeling that best apply to the percussionist. In particular, the dem onstration o f hand positions, sticking patterns, phrasing and tone production, along w ith verbal and w ritten d irectio n provide the view er w ith exem plars o f correct perform ance models. This is in addition to a com plete perform ance o f this concerto, and an in depth interview w ith D r. Rosauro. Together this provides one w ith a detailed perform ance analysis o f this w ork, and insight o f the composer’s intent; both o f which are significant topics o f study w ith in the profession. Furtherm ore, those models dem onstrating the aforem entioned are enhanced by incorporating various cam era angles o f how these techniques are em ployed. Thus, one may view , as m any times as desired, a specific area o f concern which delineates the correct process in order to obtain the desired technique. Therefore, this process gives the student individualized attention and allows tim e fo r concentrated self-study. Pictures have proven to be more effective in getting a p o in t across and more influential than words from the instructor. (Kitchen, 1968, pg. 26)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
42
C hapter III - M ethodology
In the Spring Semester o f 1992 I was asked to be a guest soloist w ith The Jersey C ity State College (now New Jersey C ity University) Cham ber Orchestra, under the direction of D r. Edward Raditz. For this perform ance, I chose Ney Rosauro’s Concerto for M arim ba and Orchestra, a fter hearing w orld acclaimed percussionist Evelyn Glennie perform the fo u rth movement. Preparation fo r this w ork began in June o f 1992 at the Aspen Music Festival, w here I was under the tutelage o f Benjam in Herm an, Principal Tim panist o f The Am erican Sym phony. A fter the festival I continued m y studies w ith Nicholas Cerrato, then D irector o f Percussion Studies a t Jersey C ity State College and tim panist for the Broadway M usical “Cats.” Two years later, I again perform ed this w ork after w inning the 1994 Purchase Sym phony Concerto Com petition. In preparation fo r this perform ance, I worked closely w ith Barry C entanni, Principal Percussionist o f The Orchestra o f St. Lukes. Each o f these individuals are highly respected for th e ir perform ing and pedagogical skills. U nfortunately, neither knew o f the composer o r his concerto, even though this com position was
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
43
becoming one o f the most frequently perform ed m arim ba concertos in the profession. Thus I had to develop, on my own, the necessary technical skills and concepts o f phrasing and sound in o rd er to perform this work. The learning process was d iffic u lt because neither o f these applied instructors were knowledgeable o f this w ork, nor w ere there m aterials available to assist in studying this composition. Since then, I have perform ed this concerto num erous times in recitals, and most recently as a guest soloist w ith the New Jersey C ity U niversity Percussion Ensemble. W ith each perform ance, colleagues and students inquire about this com position, and how I developed such an understanding o f this work. This inquiry, stim ulated the idea that the profession should have access to instructional m aterials that delineate a comprehensive study o f this concerto and Dr. Rosauro. Developm ent o f The M aterials
The design o f these instructional m aterials was based upon m y experience as a student, perform er and pedagogue; along w ith researching various resources th at pertain to instructional video design, p articu larly in an applied setting. In addition, w ere numerous discussions w ith such colleagues as Russ Girsberger,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
44
form er Head Librarian of The Percussive Arts Society, and Lisa Rogers, Assistant Professor o f Percussion at Texas Tech University and board m em ber o f The Percussive Arts Society’s Research Committee. Much thought and consideration was given to the conceptual design. The principal objective was to provide a comprehensive resource that is easily applicable to the perform er, student and pedagogue who wish to obtain knowledge on Ney G abriel Rosauro, and his Concerto fo r Marimba and Orchestra. To fu lfill this objective, the m aterials were structured as follows: (A) biographical inform ation on D r. Rosauro, as w ell as his compositional influences, w riting style and personal thoughts on his concerto; (B) a detailed perform ance analysis (as it pertains to the solo marimba p art o f this w ork), discussing such topics as phrasing, sticking patterns and m allet choices; and concluding with (C) a complete performance o f this composition. An “Instructional Video” and a corresponding “Reference Study Guide” were chosen to best satisfy the objectives o f these instructional m aterials. This m edium o f instruction, perm its one to review, as m any tim es as desired, the techniques needed, and those that can be incorporated to perform this work. Presenting the m aterials in this m anner perm its the view er to observe how each elem ent plays a p art in the perform ance o f this
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
45
concerto. As these m aterials build system atically, one can correlate Rosauro’s musical in te n t w ith the technical applications o f learning this composition. Therefore, this approach grants a thorough understanding o f the composer; his creative intent; his w ritin g style; along w ith a detailed perform ance analysis o f this concerto. Devising the content of the m aterials through colleagial discussion and research is essential to the Pre-Production Process. The Pre-Production Process defines the content, design and lay-out o f the m aterials, and establishes the chronological o rd er o f the Production Process. The following outlines the Pre-Production Process applied here in: - D efine the topic o f the instructional m aterials. - Determ ine how the instructional m aterials w ill be presented. - Research literatu re pertaining to instructional video design. - Discuss the content o f the m aterials w ith other colleagues. - Contact Dr. Rosauro and the Percussive Arts Society fo r any inform ation pertaining to him and his concerto. - O utline the content, design and layout o f the m aterials; determ ine w hat excerpts w ill be perform ed in the video and its corresponding sticking patterns. - Organize and compose the content o f the instructional m aterials: biographical inform ation on Rosauro; historical inform ation about the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
46
concerto; Rosauro’s catalog o f works, audio/video recordings and pedagogical m aterials w ritten . - Determ ine the m axim um am ount perm issible to produce these materials: 52,500.00. - Contact the videographers, editors and conductor to discuss the content o f the m aterials, and the vision o f the fin al project; and determ ine w hat can o r cannot be achieved (this may be related to budget or technological constraints). - Establish film ing dates and locations; and contract musicians, videographer, editing and sound personnel. - Review w ith the conductor a ll tempos and phrasings fo r each movement; discuss the cam era angles fo r each section and film ing date w ith the videographers; and m ail a ll orchestral parts w ith recordings o f the concerto to the musicians. - W rite the script fo r the in tro du cto ry segments to each section; and delineate a ll questions to be asked d u rin g the interview . Next is the Production Process, w hich sees a ll th a t has been defined and outlined in the Pre-Production Process to fru itio n . This phase of producing these m aterials tests the tim e-line established during Pre-Production; thus certain allocations have to be considered when establishing this process. For instance, musicians arrivin g late fo r the performance; technical difficulties w ith audio, video or editing equipm ent; cam era angles may n o t be attainable as once
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
47
thought; a ll o f which alters the tim e-line and forces one to make adjustm ents to the project. The o rd er o f the Production Process is as follows: - Videotape the interview at Colum bia U niversity. -Videotape the overhead cam era angles o f the excerpts at St. Peter’s College, in Jersey C ity, New Jersey. - Videotape the perform ance at M ontclair State U niversity, in M ontclair, New Jersey. - Videotape the introductory segments in Englewood, New Jersey. - Transfer a ll o f the tapes from Super VHS to standard VHS; review each take and determ ine which excerpts w ill be kept fo r the overhead cam era angles; which take o f a given m ovem ent w ill be kept fo r the perform ance segments; which take o f the introductory segments w ill be used; and determ ine what sections o f the interview w ill be incorporated. - Digitize the chosen segments into the com puterized editing equipm ent. - Type in a ll screen fonts and film a ll graphics th at are to be used in each part o f the “Instructional Video.” - Complete the narrative script fo r the slow-m otion overhead cam era angles. - At the editing studio, record the narrative script w hile tim ing it to each slow-m otion video-clip.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
48
- Create opening and closing credits, and determ ine what sections o f the concerto w ill be perform ed for each. Structural Content and Function o f The Materials
The corresponding “Reference Study Guide” consists o f biographical inform ation on D r. Rosauro and detailed inform ation about his Concerto for M arim ba and Orchestra, along w ith a catalog o f his works, pedagogical m aterials and audio/video recordings; and delineated excerpts o f the solo m arim ba p art to this composition (found in Appendix A ). In addition, and up to the discretion o f the view er, the “Reference Study Guide” contains a detailed practice regim en fo r use w hile studying these m aterials (also found in Appendix A ). Part one of the “Instructional Video,” en titled , “The Composer,” coincides w ith the biographical inform ation provided in the “Reference Study G uide” “The Composer” is an in-depth interview w ith D r. Rosauro, where he discusses his musical influences, com positional style, views on percussion, and o f course, his Concerto for M arim ba and Orchestra. Part two o f this “Instructional Video,” en titled , “Learning The Concerto,” is a detailed perform ance analysis o f the solo m arim ba part. The topics discussed are hand positioning; clarity and tone;
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
49
m allet choices; sticking patterns; and the shape and m olding o f a phrase. Each movement is divided into fo u r individual excerpts, and is delineated by the m ovem ent and section, as is notated in the “Reference Study G uide.” Therefore, one can correlate these excerpts from the “Instructional V ideo” to the “Reference Study Guide” for quicker and easier reference. The excerpts m odeled in this study w ere chosen based upon one o r m ore of the follow ing: technical d iffic u lty , questionable phrasing, and overall im portance to the given m ovem ent. In addition, certain excerpts have specified sticking patterns th at are notated in the “Reference Study Guide.” This is due to the d iffic u lty and com plexity o f a given excerpt. The use o f slow m otion editing techniques, along w ith over head cam era angles, grant a d ifferen t perspective to studying and observing the excerpts dem onstrated in p a rt two o f the “Instructional Video.” These camera and editing techniques perm it the view er to observe the soloist’s hands as they move about the instrum ent, not from an audience perspective, but from th at o f the soloist looking down at the instrum ent as these excerpts are perform ed. Accompanying each o f these excerpts are voice-overs th at detail the technical topics o f hand positioning, phrase structure and m allet choice. A fter each excerpt is discussed and dem onstrated, it is then shown again from an audience perspective, w h ile being
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
50
perform ed at concert tempo w ith cham ber ensemble. Therefore, one can observe and relate how the topics previously discussed combine to form the desired result. By presenting the excerpts in this m anner the view er m ay observe, in slow-m otion, the subtle details o f hand and arm m ovement as they are discussed through the narration; and how these movements correlate w ith the sticking patterns indicated in the “Reference Study Guide.” The choice o f elim inating the sound during the overhead cam era positions was tw o-fold. First, it presents too much inform ation to the view er a t one tim e, and allows one to focus h is /h e r attention to the narration explaining the various techniques o f hand position, m allet choice and phrasing. Second, the editing process used to present the excerpts in slow m otion distorts the sound o f the instrum ent; thus hindering the view er's understanding o f the excerpts phrasing. Following the dem onstrated excerpt is an actual perform ance, not only of the m arim bist, but the en tire ensemble. In tu rn , the view er may now observe those techniques o f phrasing, hand positioning and m allet choice blended w ith in the fram ew ork o f the entire composition, and not just th at o f the solo m arim ba part. A yellow back drop was used to brighten the dark colors o f the instrum ent, as w ell as to grant d efin itio n between the m allets and the bars o f the m arim ba. The view er sees the same m allets in the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
51
dem onstrated excerpts as those used in the performance. This provides uniform ity and structure to these materials, especially when the narration is discussing the purpose of a particular m allet choice. Therefore one may see and hear its impact upon the excerpt as it is presented and perform ed w ith the string ensemble. Part three, entitled, “The Culm ination,” is a complete perform ance o f this work. Here the view er observes how each topic discussed in parts one, two and the “Reference Study Guide,” is incorporated into the perform ance o f this concerto. The techniques discussed throughout these m aterials are not intended to sim ply be im itated by the view er. The “Reference Study Guide” stresses that one should at a ll times question the perform ance analysis of this author, and to experim ent w ith these suggestions to form ulate one’s own concepts o f tone color, phrasing and technical applications. Thus these are com prehensive m aterials th at pertain to Dr. Rosauro and his Concerto for M arim ba and Orchestra: and not a tool to be used in place o f one’s ideas, nor replace the role o f the applied teacher. Evaluation These m aterials were subm itted to six percussionists who have extensive perform ing and pedagogical experience. Each evaluator
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
52
was m ailed a packet that contained an abstract o f this study and a copy of the “Instructional Video” and “Reference Study G uide.” Just p rio r to the packets being dispersed, the evaluators were electronically-m ailed a b rie f letter requesting th a t they focus th e ir evaluation tow ard the following areas: the content, design and lay out o f the m aterials; the q u ality and accuracy o f the perform ance analysis and the perform ance o f the concerto; and w hether o r not these m aterials are educationally beneficial. In add itio n , they were asked to keep in m ind that these m aterials were produced w ith a budget o f only $2,500.00. Between Decem ber 1, 1999 and January 25, 2000, each evaluator participated in a tape-recorded telephone interview , where they w ere asked specific questions that pertained to the aforem entioned categories. The evaluators were inform ed that th e ir names would be kept anonymous except fo r one, D r. Rosauro. The results o f these interview s are discussed in the follow ing chapter.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
53
IV - Sum m ary
The purpose o f this dissertation is to present a specific design o f an “Instructional Video” and corresponding “Reference Study Guide” on D r. Ney Rosauro and his Concerto fo r Marimba and Orchestra. It was not, however, to design instructional m aterials that would riv a l o r profess to be better than others that are cu rren tly accessible to the profession. As previously stated, there are m any percussionists who are not p roficient o r knowledgeable about the numerous concerti w ritten for percussion. Therefore, it is im perative fo r our profession to have readily accessible m aterials that assist in bridging the knowledge of these various concerti to those w ho may study or teach any one o f these works. U nfortunately, it is impossible to design specific m aterials that w ill address a il o f the prom inent concerti th a t are perform ed by percussionists. For instance, unlike other instrum entalists, percussionists are expected to perform in a num ber o f genres w hether it be on tim pani, m ultiple percussion or one o f the m allet instrum ents. Thus the scope must concentrate on one area o f percussion, and even m ore so, one com position. Therefore these
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
54
instructional m aterials w ere designed to be based upon the most perform ed marimba concerto this decade. The sole objective was to organize, produce and present instructional materials th at outline pertin en t inform ation about Dr. Rosauro, along w ith a detailed perform ance analysis o f his Concerto for M arim ba and Orchestra. Upon presentation, the perform er, student and pedagogue has instructional m aterials th at provide concise detailed inform ation pertaining to the following: the composer and his thoughts on his com position; an analytical analysis o f the perform ance techniques necessary to perform the solo m arim ba part to this work; and to culm inate these topic areas, a com plete performance o f this concerto. To achieve these objectives, the instructional m aterials were designed to combine the visual aspects o f video presentation, along w ith a “Reference Study Guide” that corresponds to the “Instructional V ideo.” Together they com plim ent one another to form a complete set o f m aterials that addresses those areas as specified above. M eeting The Objectives
The objective o f these m aterials is to address the composer; the solo m arim ba part to this concerto; and to culm inate the study into a
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
55
complete perform ance o f this work. Thus the m aterials were structured into three main topic areas o f study. Part one o f the “Instructional Video” is en titled , “The Composer.” Here the viewer has an opportunity to see and hear Dr. Rosauro express his own thoughts on his com position as w ell as discuss his com positional influences and views on percussion. The “Reference Study Guide” coincides w ith this section by detailing biographical inform ation about the composer, which consists o f his complete catalog o f works, pedagogical m aterials and audio/video recordings. In addition, historical inform ation is provided about this composition, including its various arrangem ents and instrum entation; and how the com position became a prom inent m arim ba concerto. Part two o f the “Instructional Video” entitled, “Learning The Concerto,” provides a detailed perform ance analysis o f the solo marim ba part. N arration explains the techniques em ployed by the soloist, such as: hand positioning, m allet choice, and phrasing. The view er sees, in slow-m otion, and in an over-head camera position, the soloist’s hands perform ing various excerpts o f each movement o f this concerto. The “Reference Study Guide” provides notated excerpts that correspond to those being perform ed. Accompanying some of the excerpts in the “Reference Study G uide” are notated sticking patterns. The excerpts that have notated sticking patterns were chosen due to th e ir com plexity and questionable pattern, which may
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
56
o r may not be easily determ ined when review ing or practicing a given excerpt; thus expediting the learning process. Concluding this study is part three, entitled, “The Culm ination.” This section is a com plete perform ance o f the Rosauro Concerto for M arim ba and Orchestra. One m ay observe the perform ance o f this concerto, w hile follow ing along w ith a score o f this composition, a n d /o r the excerpts provided in the “Reference Study Guide.” Therefore, one m ay now observe the relation o f topics discussed in “The Composer,” and more so, in “Learning The Concerto,” as they are now incorporated in to the perform ance o f this work. Since the instructional m aterials are d ivided into three m ajor sections (and subdivisions in parts two and three) one m ay pick and choose which topic areas are needed fo r any in q u iry about Dr. Rosauro o r his concerto. Therefore these m aterials do not have to be viewed from beginning to end in o rd er fo r one to obtain the inform ation sought. Producing The Video
Numerous factors must be taken into consideration when preparing to produce such instructional m aterials. The prim ary focus is on the design as dictated by the cost o f the video production. This project was lim ited to a budget o f $2,500.00 to cover the costs
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
57
o f the following: cam era technicians to film ; editing facilities and a technician; musicians and a conductor; and studio facilities. It should be noted th at much courtesy and assistance was provided in order for the budget to have not exceeded the aforem entioned figure. For instance, the film ing o f the over-head cam era angles were conducted at Saint Peter’s College in Jersey City, New Jersey. M r. W illiam Knapp who is the d irector o f the Audio Visual Complex at the College, volunteered his services a t no cost. He provided use o f the studio facilities w ith his technical assistance out o f courtesy and friendship. Second, the film ing o f the com plete perform ance of the concerto was conducted at M ontclair State U niversity in M ontclair, New Jersey. The use o f the recital hall was again provided at no cost as a courtesy due to the intervention o f the conductor of this ensemble, M r. Patrick Bums, A djunct Professor o f Music at M ontclair State U niversity. Finally, the film ing o f the interview w ith Dr. Rosauro; the perform ance at M ontclair State U niversity; and the editin g facilities were provided by D V Studios in Bergenfield, New Jersey. The cam eram an and editing technician was M r. Dennis Valentine, who provided unlim ited editing and o ff site film ing at a nom inal cost of $1,500.00. It should be noted that this was a greatly reduced price, again out o f courtesy and friendship to this author. The rem aining
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
58
$1,000.00 was in paym ent to the musicians o f the string quintet that accompanied the perform ance o f this concerto. Commonly costs fo r such an endeavor can easily escalate to S I0,000.00 or more. Recording studio facilities charge on average o f $150.00 to $250.00 per hour; editing costs average approxim ately the same am ount. The cost for musicians averages $100.00 per rehearsal and a m inim um o f $250.00 fo r a three hour recording session. The interview w ith D r. Rosauro was conducted fo r two hours. The preparation and film ing o f the over-head camera angles took two days o f studio tim e a t Saint Peter’s College. W hile, the film ing o f the perform ance o f the concerto was com pleted in four hours. This consisted o f establishing camera angles, lighting, sound levels, rehearsal tim e, and various takes o f each movement. Each o f these recording sessions w ere film ed using Super VHS Video Tape, and a Panasonic AG 456 S-VHS Camera. The editing process consisted o f fo u r hour sessions tw ice a week at DV Studios, beginning in July o f 1998 and ending in Septem ber o f 1998. The com puterized editing program used at D V Studios for this project was FAST-VM Studio. Due to the expense o f producing such instructional m aterials, it is id eally suited to be produced at a college o r university setting, because most o f these institutions provide such facilities to faculty
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
59
and students for a nom inal fee. Even if one is not a ffilia ted w ith a given in stitu tio n, he/she may be welcom ed by an instructor to incorporate such a production into the curriculum as a class project. In addition, one would have access to m ultiple cameras and broadcast equipm ent. Thus the q u ality o f the recording, audibly and visually, w ill be at a superior level than the use o f Super VHS Video Tape.
Evaluations These instructional m aterials w ere evaluated by six percussionists who have extensive experience as perform ers and educators a t the collegiate leveL The areas they addressed in their evaluations were: the design, lay-out and content o f these m aterials; its educational benefit; the accuracy o f the perform ance analysis, and the perform ance q u ality o f this work; the audio and visual q u ality o f this w ork in relation to its lim ited budget; in addition they were asked to discuss th eir personal views o f these m aterials and suggest any recomm endations fo r im provem ent. Each evaluator was mailed an abstract (sum m arizing the project) w ith a copy o f the “Instructional Video” and “Reference Study Guide.” In addition, the evaluators were electronically m ailed specific questions to consider, and were asked to include any
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
60
additional inform ation th at they felt was p ertin en t. During the months o f December, 1999 through January, 2000 each evaluator was contacted and interv iewed by telephone. A ll o f the interview s were tape recorded w ith the knowledge and approval o f the evaluators. A ll o f the evaluators w ere inform ed th a t th e ir anonym ity would be kept except fo r D r. Rosauro. The follow ing are those questions th a t w ere asked o f the evaluators: 1. W ere you satisfied w ith the content and the questions asked in the interview w ith D r. Rosauro? If not, why? 2. Is there anything th a t you would have added to the interview a n d /o r changed? If so, w hat and why? 3. Did you like the cam era angles chosen in p art two, “Learning The Concerto?” If n o t, why? 4. Did you find the n arrative slow-m otion video clips w ithout hearing the perform er to be beneficial? If n o t, w hy and w hat w ould you have changed o r done differently? 5. Was the transfer from the slow-m otion segments to the concert perform ance video clips easily understood? If not, why? 6. Did you have any problem detecting the m allets against the m arim ba and yellow backdrop; and w ere the hand positions easily visible? If not, w hich section and why? 7. Were you satisfied w ith those excerpts th a t w ere chosen; would
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
61
you have incorporated other excerpts o r removed some th at were used. If so, w hich and why? 8. Is the content o f the “Reference Study Guide” easily understood, and did you have any problem relating any part o f it to the “Instructional Video?” If so, which p a rt and why? 9. D id you have any problem correlating the notated excerpts in the “Reference Study Guide” to those being perform ed in p art two, “Learning The Concerto” of the “In stru ction al Video?” If so, which and why? 10. Did you feel th at the practice recomm endations provided, and those excerpts th a t were notated w ith specific sticking patterns to be accurate and beneficial? If not, w hich p art and why? 11. Were you satisfied w ith the cam era angle in part three, “The Culm ination?” If not, why? 12. Were you satisfied w ith the perform ance o f the concerto? If not, why? 13. Do the m aterials provide one w ith a detailed understanding of Dr. Rosauro, his com positional style, and his m arim ba concerto? If not, why? 14. These m aterials were produced, w ritte n and edited w ith a budget o f $2,500.00. In your opinion, is this a q u ality product, and more so, are these m aterials a pedagogical benefit to anyone who wishes to
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
62
teach or learn more about D r. Rosauro and his m arim ba concerto? If not, why? 15. Assuming you had a considerably larger budget that would perm it you to use professional recording equipm ent, studio and editing facilities, w hat changes, if any, would you make to these m aterials? 16. If you have anything fu rth er th at you would like to add to these questions please do so. Any additional input you can provide would be greatly appreciated. As previously stated, each Evaluator was tape recorded during our telephone interview . The following are the transcribed answers o f the Evaluators discussing their thoughts o f these m aterials, and more so, th e ir recommendations fo r im provem ent Each Evaluator provided a wealth o f inform ation, w ith some choosing to elaborate on specific areas more than others, each giving an extensive summary o f personal thoughts about the design o f these m aterials. Prior to each transcription, biographical inform ation o f each Evaluator is included, along w ith the date and tim e the interview was conducted. Evaluator One holds a bachelor’s degree in percussion and has perform ed extensively w ith numerous orchestras, concert bands, percussion ensembles and In musical theater. This person is also an Adjunct Professor o f Music at a North Eastern U niversity teaching percussion methods to undergraduate music education majors, and is
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
63
the assistant d irecto r o f the universities percussion ensemble. This interview was conducted on December 4, 1999 at 4:40 pm , eastern standard tim e. C ertainly one could say that it could have been packaged more appealingly in th a t the technical lim its o f the production facilities could have been higher, but I s till don’t th in k th at it detracts from the basic message. The fact th at you spoke w ith the composer and got his thoughts both generally about his music philosophy and the w ork speaks volum es and in this way no one can say th at this is w hat the composer m eant by this w ork, o r this is w hat he wanted to hear. Its a ll rig h t there and I th in k th a t the essence was m aintained and I don’t th in k that there is anything else th at perhaps could have enhanced it. 1 had no trouble correlating the Reference Study guide w ith the over head cam era angles in the In stru ction al Video. I think this is a w onderful technique and I don’t recall seeing it used fo r anything except ju st fo r a television presentation o f someone doing som ething. To use it instructionally this way, I think was w onderful because it is evident th at you w orked out the stickings and the fingerings for certain passages and explained your reasoning fo r them and the over head cam era angles laid it o u t quite w ell. That anyone looking to perform
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
64
the w ork a ll they would have to to do is look at it, and even if they chose not to do w hat you d id , I believe you gave them a w onderful departure point. I th in k perhaps I w ould have increased the film speed o f the slow m otion excerpts ju st a b it. This is only because I am a percussionist and I knew w here you w ere going. Though someone who is not fam iliar w ith this w ork, or is not as adept on certain techniques would probably fin d this speed better in o rder to understand the subject m atter. In addition, someone who had never heard the w ork before w ould perhaps feel that it was a b it disjointed so I do feel th at there is sort o f an o ff cam era, if you w ill, necessity th at the listen er or perspective p erform er w ould need. He w ould have to listen to the w ork firs t before view ing the instructional m ethod. I th in k it would m ake a lo t m ore sense. If yo u r m ethod was viewed by someone u n fam iliar w ith this w ork, the excerpts would have been so b rie f th a t I believe the view er w ould say I have to s till have to hear this thing and watch it again and then it w ill make m ore sense. Having heard the w ork both in the percussion ensemble arrangem ent, and cham ber orchestra, as is in your instructional m ethod, as a m usician I p referred listening to th at the most rath e r than the percussion ensemble version. It
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
65
was evident th a t the musicians were o f high caliber and they in turn had been infused w ith Dr. Rosauro’s intention, and played befitting to his intentions, not only lim ited to you. So in that way I th in k that this p articu lar perform ance was tru ly wonderful. It was evident that you had lim ited facilities o f w hich to work, and th at you had only one camera angle to choose from , and in th at respect you d id w ell. If I were to have my druthers, I w ould have said that the lighting perhaps could have been b etter and it m ight have been nice to have another camera that could have shown things instead o f in front o f you. Perhaps from the side or a b it over the shoulder o r head w ith a little b it w ider field th at w ere used in the slow m otion excerpts. T h at way a much better context in w hat would happen in a successful perform ance could have been given, and I would have preferred better sound q u ality. In th at I would have liked to have had fu ll stereo q u ality. But a musician who is o f this caliber, who is to perform or teach this work, can m ake those compensations and can understand that those lim itations do not take away from w hat the work conveys. I do feel th at you have gotten an astounding result given the budget. Once one knows that you had a budget of only
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
66
S2,500.00 to work w ith, one would have to say th at you have done very w ell. Given this lim itatio n , I can’t th in k o f any way you could have done better. Further, I th in k that had someone not viewed the method and just begun studying the concerto someone who does this m ight attain a perform ance that is quite acceptable. However, I would feel th at this is pure serendipity. I sim ply th in k th at w ith the m ethod having been view ed the perform er w ould have very little question on how to approach the w ork and the composers in te n t Simply because certain Brazilian styles and com positional influences th at D r. Rosauro have are perhaps not as w ell known and I th in k that by providing this it gives the perspective perform er something he m ight not have discovered on his own, and w ould have not put in his own perform ance, and would have taken away from it. So I feel th at the m ethod gives a much m ore solid background to w ork from . I th in k the teaching m ethod you have produced is just a w onderful thing. (Personal Communication, December 4, 1999) Evaluator Two is an Assistant Professor o f Music, Coordinator of the percussion departm ent and director o f the percussion ensemble a t a N orth Eastern U niversity and teaches applied percussion. This person holds a bachelor’s and master’s degree in percussion w ith numerous perform ances w ith orchestras, concert
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
67
bands, percussion ensembles, Broadway musicals and touring companies. Our interview took place on December 17, 1999 at 4:45 pm eastern standard tim e. The nice thing about the Reference Study Guide and the Instructional Video, is the way it a ll fit in , it gives a better understanding o f the composer. W hen I ever perform a w ork and know th at the composer is w ith in the m etropolitan area, I try to invite the composer to the university. This gave one a good opportunity to understand Rosauro and his intent o f his music [sic]. I would say th a t the questions you asked D r. Rosauro were com pletely relevant to the topic on his concerto and w ere very enlightening as to how the concerto came about. It was very thorough, and I had no questions in m y m ind th at were not answered. The sound q u a lity was very hard to deal w ith in terms o f w hat was being said, and I would recomm end th at when the tim e comes if you have o r have not released the video as an educational aid, w hich I suggest you do, I would eith er reinterview D r. Rosauro, or fin d an institu tio n that can im prove on the sound quality; o r subtitle the interview so th at one can read the question and answers as you are speaking. In addition, I w ould also recommend th a t since D r. Rosauro is an international composer that you subtitle it in to many
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
68
languages. Another suggestion would be to consider hiring a professional narrator. A t tim es I could alm ost feel every breath you were taking during your in tro du cto ry segments. I know this was probably due to the lack o f technical facilities available w ith in your budget. I would h ire a n arrato r/a cto r to introduce each segment, but not fo r the interview and not for the voice overs during the excerpts. I fe lt that the cam era angles were w onderful. I was very impressed because it allow ed one to see exactly w hat you w ere doing. I don’t know how many tim es I have gone to a concert, and I try to have m y students understand w hat a m allet perform er is doing, and a music stand is d irectly in front o f them . Looking at your video, at an educational standpoint, the cam era angles were b rillia n t. They brought one d irectly in line and in view, not o n ly w ith how you attem pted to w ork these things out, but the visual affect o f seeing it overhead was certainly preferred than seeing it straight on. Though for one who is not fam iliar w ith the piece I would th in k that presenting the excerpts a t concert tem po firs t, followed by the excerpt in slow m otion would bring someone in closer. Because one is hearing it firs t, and by hearing it first one has it in th e ir head and I believe th at it would m ake fu rth e r sense. I don’t feel th at the w ay it is presented detracts from
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
69
the learning process. It is a suggestion based upon taste, but I personally had no problem w ith the way it was presented. I think the cam era angle o f the perform ance was fine because you had already brought in the view er intim ately throughout your p rio r explanations by watching you perform the concerto. I fe lt th at I came away w ith a new appreciation fo r this composition. The lighting at the end o f the perform ance could have been brighter, along w ith the use o f m ultiple cameras w hile film ing the perform ance. Especially w ith close-ups on the perform ers hands w ith those sections th at were discussed previously, o r when a solo section is perform ed by the strings, the cameras can be focused on those areas. For the shoe string budget you had to work w ith, I find the production commendable. To hire a string ensemble and record the w ork in the m anner that you d id , I would say that it w ould be impossible to come up w ith a b etter quality w ork. A ll the form atting th a t you chose, I fe lt was very successful. I fe lt that the entire instructional method works very very w ell and I have adopted it into m y curriculum . The students I teach at my university have a ll seen this m ethod and have certainly benefited from it. The only thing that is negative, are just those suggestions for im provem ent regarding the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
70
sound q u ality. It did not detract from the video and by raising the volum e we w ere able to gain m ore o f w hat was being said. I thought it was excellent. I have not seen anything this in depth. This is the first video th a t I have seen that is specific, that takes one piece and we gain a whole insight into the composer; and we gain a whole perform ance method; and we can take this piece and go about it fu rth e r w ith our own perform ance w ith this work. You certain ly helped my teaching abilities. (Personal Communication, December 17, 1999) Evaluator Three is a Professor o f Music teaching applied percussion, percussion ensemble and directs the percussion program at a M id-W estern U niversity; and has an extensive perform ing career w ith num erous musical productions and as an orchestral percussionist. In ad d itio n , this Evaluator has conducted extensive research on the affects o f video instruction fo r percussionists, and holds a bachelor’s, m aster’s and doctoral degrees in percussion and music education respectively. This in terview was conducted on January 18, 2000 a t 8:15 am eastern standard tim e. I found it helpful to get the background inform ation about D r. Rosauro; where he studied; w hat his interests are; a little about th e history o f when his various pieces were composed. I found it p articu larly interesting to learn o f his non-percussion musical background. I th in k it helps explain
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
71
the m elodic content th at I Find in a lo t o f his music. I th in k it also helps explain w hy there is so much rep etitio n o f ideas in a lo t o f his music because he does have sort o f a popular music background, and m aybe that's where p art o f th a t comes from . I also thought it was helpful o f his discussion o f the concerto, in an o verall type o f view I found that m any tim es when he was responding to m ore specific questions about the concerto that he was alm ost defending his concerto. For exam ple, I guess in one point he has heard some criticism about his music being sim plistic, so he decided to defend against th a t kind of com m ent and in a w ay it kind o f detracted fro m the interview . I w ould have rath er he spent a b it more tim e discussing the overall structural ideas o f the concerto; w hat he thought o f the piece from a composers standpoint ra th e r than a perform ers standpoint. I did th in k th at it was im portant th at he speak o f those pieces th at one should perform p rio r to his concerto, and I appreciated his comments about the technical d iffic u lty . But I w ould have just lik e d a little b it m ore analytical detail; a little more probing about perform ance d ifficu lties and maybe w here his ideas came from ; o r w hat he was thinking o f when he was adding some o f the technical aspects to the composition.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
72
I thought that the basic camera angle over the shoulder was good. I know you had certain budget lim itations, and you had questions about how you m ight redo this video if you had a m ore significant budget. So by having a second cam era during this section you could show the m allet heights; that m ight also be helpfuL You can pan from one cam era to the oth er and I realize th a t this is a budgetary and technical lim itatio n when you are dealing w ith a study like this. In addition, I th in k a sp lit screen would be helpful, but not from the audience perspective. At eith er eye level to the perform er o r slightly to the side o f the perform er. I liked the slow m otion and I thought it was very helpful and in fact it could even be slower. There could even be two slow m otion speeds, th at m ight be h elpfu l as w ell. I thought it would be nice to hear the music. Though it m ight be too confusing to hear the narration and the music in the back ground, plus the visual aspect, but maybe the narration could occur first w ith the visual aspect and maybe you can hear it as an exercise rath er than going to hearing it in context. I th in k th at it was easily understood. I th in k to go back to my previous point, m aybe to have the exercise at the perform ance speed w ith the sound and then go to the perform ance o f the work. First you w ould have slow m otion w ith narration,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
73
then you would dem onstrate the exercise at perform ance speed, but w ith those same camera angles. T h ird ly , you would have the perform ance w ith the ensemble. So explanation w ithout the instrum ent and then w ithout the perform ance context. I thought that the excerpts represented in the Reference Study Guide and the Instructional Video w ere fine. I thought it represented the piece quite w ell. The only thing th at I would add is th at in my own p articu lar teaching style, a lo t o f tim es I try to create exercises based upon the piece. The only thing that one m ight consider is creating exercises th at would help even sm aller passages, m ore m otivic kinds o f things, or p articularly technically challenging things th a t would be incorporated in both the video and Reference Study Guide. I thought the progression to the culm ination was good, and I particularly liked the comments you m ade about the ro ll speed and referencing it back to the way Rosauro would play it. Now you can either agree o r disagree when he perform s certain sections. So I thought th at it was extrem ely beneficial. Again more cameras to provide more angles so during the culm ination performance obviously that w ould have been one place where having additional cameras going from one angle to another would have been very helpful.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
74
I was extrem ely pleased w ith the production. The $2,500.00 budget was re ally very modest fo r w hat I was v iewing on the screen. So I thought th at was excellent. As far as the im portance o f the study, it is very im portant fo r us as percussionists to pursue this literatu re and to develop an understanding o f it. We are s till in our infancy, and if we don’t prom ote o u r own literatu re and our own artists like this, who else w ill. I found it to be very beneficial. (Personal Communication, January 18, 2000) Evaluator Four holds a bachelor’s degree in music specializing on m allet instrum ents. This person has perform ed and conducted m aster classes across the globe; and is a recording a rtist who has produced instructional videos; a composer, publisher and distributor; and teaches at a N orth Eastern Conservatory o f Music. This interview was conducted on January 19, 2000 at 10:00 pm eastern standard tim e. I really found this m ethod to provide a detailed understanding about his com positional style, and how it correlates to the m arim ba concerto. I found it interesting to watch, and I know Ney very w ell, b u t I never knew some o f the things presented in this video, so th at was really great. I think there was one o r two questions I could not hear w ell, but by judging w hat the answer was, I was able to determ ine the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
75
question. I have been w orking w ith Ney fo r three years and I learned some things that I did not know and I thought you did a good job. I was d efin itely satisfied by the interview and its content. I would have liked to see you face the camera, and you looked a little nervous. I thought the slow m otion editing techniques were great. I have not seen any instructional videos th at w ent through pieces like this before. I really thought it was very effective. It w ould probably be nice to see some indications as to what page one would refer to in the Reference Study Guide. Not th at we don’t know, but it would be nice to see a cue. This m ay be helpful to a student who is not watching it in its en tirety, and may be working on the firs t three excerpts o f a m ovem ent, and
doesn’t look at it for ten days, and then has
to scroll around to fin d where they were. T hat way they could have some type o f check list. I was satisfied w ith the cam era angles. M y only criticism o f this section is that the instrum ent you were playing on, I could not tell if the bars were slightly graduated o r not. It d id not appear to be w hat m any students are using. Usually m any schools have larger range m arim bas, and those bars w ould be a little larger than w hat you were playing. So th at m ay change some o f the angles and m ight change the way
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
76
you illu strate certain things dependent upon the spread. But it was great the way you d id it and I thought it worked really w ell. I missed seeing some o f the instrum ents in the fin al perform ance. I was hearing things th at I wasn’t seeing, and in the context o f hearing the lead instrum ent balance w ith the rest o f the orchestra that wasn’t really fu lfilled . The actual scoring w ith the high end o f the m arim ba w ith the high end o f the strings; to the low end o f the cello, whatever it is, is part o f the balance o f the piece. So I mean I fe lt th at there were things missing th at way, but as far as the view o f the m arim ba goes, I can’t th in k o f any other place you could have gone w ith a single cam era shot. It was probably the best one you had. I was distracted a b it by the size o f the music stand you had. Maybe you could have tilte d the stand more, or put it slightly at a d ifferen t angle. But other than that, I th in k you and the cam era w ere in the best spot you could have been. I was happy w ith the perform ance o f the w ork, but something was taken away by the m icing technique. It is not fa ir to judge it. It was not d iffic u lt at a ll fo r someone to obtain a good understanding o f the piece by this perform ance. If you had a greater budget I would have recom m ended that you use a couple o f d ifferen t cameras during the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
/ /
perform ance: one stationary w ith a w ide shot and then be able to focus on the m arim ba, and when you are not perform ing pan to another instrum ent. M y experience w ith video is that the more m ovem ent you have the easier it is to keep the view er w ith you. The micing needs to be sorted ou t. M icing m allet instrum ents from underneath is quite a challenge. In most cases micing a m arim ba would be overhead, and w ith a four and a th ird octave marimba, using three mics would be best. A w ide shot w ould let you see the whole orchestra and I really missed that. I was absolutely happy w ith the design o f the m ethod, and was surprised how much you accomplished w ith this budget. I have never seen this concept before. I th in k this concept is very logical, and it moves w ell and it is planned out w ell. Usually instructional videos do not pertain to a p articu lar com position. It is d e fin ite ly unique. It was a great first effo rt. (Personal Communication, January 19, 2000) Evaluator Five is d irector o f arts fo r a N orth Eastern suburban school district, and form erly taught applied percussion a t a N orth Eastern Conservatory o f Music. Evaluator Five holds a bachelor’s and master’s degree in percussion and music education, and has had numerous performances a t Carnegie Hall; extensive perform ing experience w ith percussion ensembles, sym phonic and opera
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
78
orchestras; and as a com m ercial/studio recording artist. This interview was conducted on January 2 5, 2000 a t 4:00 pm eastern standard tim e. I was very satisfied w ith th e in terview . Basically it gives you an insight as to w hat the composers thoughts w ere as to when he was w ritin g it, and also his musical background which I had no knowledge o f w hat so ever. So incorporating his background and hearing his answers based upon the com position, it gives you a b etter understanding o f the entire picture. If I had to add anything, it would be to have him do some explanation or dem onstration him self on the m arim ba. I th in k th a t the overhead shot is the best way to dem onstrate the excerpts, because if you, as a percussionist, are perform ing the m arim ba, one is in a w ay looking a t the m arim ba in such a position, because you are looking down at it. Taking a fro n t shot o f the m arim ba m ight have shown a little m ore o f an angle as to w here the m allets were striking the instrum ent, but overall, the overhead shot gives the best p o rtrayal o f w hat is happening. I was re a lly satisfied w ith it. This section (Learning The Concerto) was easy to follow. You are watching the presentation in slow m otion so you know w hat is supposed to happen m usically, even though you are not hearing it. You can tell w here the m allets belong, you
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
79
know as a m arim ba player, you can figure out as to how to position the m allets and better the perform ance, and sequencing in to the actual perform ance was a good thing. It gives one a chance to look a t slowly to see where the mallets are moving to; the positioning of the hands and incorporating it w ith the music is fine. I liked the narration w ith o u t the music and it gives one a chance to understand w hat is being explained. W hereas if the music is playing, first you can’t have someone doing something in slow m otion w hile having the music going in real tim e, it just w ouldn’t work. I believe it was a good thing to have the narration alone and then go into the perform ance o f the excerpt I liked the camera angle of the perform ance and thought it was good. If I were to make any suggestions, an overhead camera angle w hile you were perform ing would have been nice. Otherwise it gave a good representation o f the piece and the instrum entation. M ultip le cameras, would assist in giving a better representation o f the entire ensemble perform ing, and seeing the overhead position of the m allet player would be nice. I was d e fin ite ly satisfied w ith the perform ance o f the concerto. Spending $2,500.00 fo r any type o f video presentation is not a lo t o f m oney. I th in k you covered quite a b it o f
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
80
inform ation, especially the interv iew itself was w orth much more than the $2,500.00. Its not that often you can see the composer being interview ed in an inform al setting. I thought th at was good. The overall perform ance went w ell. I th in k it was a fine representation o f the entire piece and the composer. This is the firs t video I have ever viewed that breaks down a select piece o f music, and any other I have ever used concentrated on technique. I think th at whole entire concept is good because you are focusing on a m ajor composition and combining it w ith an interview w ith the composer. This is the firs t style I have ever seen and I really fin d it to be a bonus. It would be a definite plus fo r someone to review this tape p rio r to studying this w ork. C ertainly having the input o f the composer gives one a better understanding o f the technique and the feeling he had when he was w ritin g the piece and his background. This helps the musicians interpretation o f the piece. If I had to im prove o r change anything on this video it would be the sound q u ality where it would sound like a true CD recording o f the perform ance. It was not a m ajor factor or a detrim ent. I was satisfied w ith the design o f the method. It is very easy to follow and was self-explanatory. I most d efin itely thought that this m ethod provides one w ith a
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
81
detailed understanding o f Rosauro and his m arim ba concerto. I have seen other instructional videos where they just focus in on the perform er and everything is based upon his perform ance, and you really don’t get anything out o f it except to see the artist perfo rm the piece o f music. The way this is broken down it is m ore educational and more inform ative. If I had to lis t this on a scale fro m one to ten, I would have to give this a nine plus. (Personal Com m unication, January 25, 2000) A ll o f the evaluators spoke highly of the design, content and layout o f these m aterials, and stated that they have never seen instructional m aterials like this before. None o f the evaluators had any d iffic u lty correlating the “Reference Study Guide” to the “Instructional Video,” nor d id they have any d iffic u lty following m y hands o r the m allets as I perform ed the excerpts in p art two, “Learning The Concerto.” The evaluators were very impressed w ith the results I attained w ith such a lim ited budget. In addition, they a ll concurred th at the perform ance o f the concerto was done w ell, and fe lt th at these m aterials w ere a valuable educational tool. Besides each evaluator rendering a positive evaluation, each concurred on the areas which they fe lt needed im provem ent. A ll o f the evaluators fe lt that sound q u a lity could have been better. Iro n ically, they differed on w hich sections o f the “Instructional
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
82
Video” needed such im provem ent. Some fe lt that the sound q u ality o f the interview was poor, w hile others indicated th a t this was problem atic during the perform ance o f the concerto. There were suggestions to im prove the narrative introductions to each part o f the “Instructional Video”; and a ll concurred th at the film q u ality could have been better, and th at additional cam era angles could have been beneficial during the dem onstrations o f the excerpts and the performance o f the concerto. M y fin al interview was w ith D r. Rosauro. It was conducted on January 25, 2000 a t 8:00 pm eastern standard tim e. D r. Rosauro pointed out th a t he and I d iffered in our approach to sticking, and also toward phrasing, especially in the second m ovem ent. He also concurred w ith the other evaluators that the film and audio q u ality could have been better throughout the “Instructional V ideo.” Rosauro also praised the project fo r its design; m y perform ance o f the concerto; and fo r providing a thorough understanding o f his approach to com position; and indicated that he has never seen instructional m aterials presented in this m anner before. The interview captured my way o f thinking and m y background. It perm itted one to understand who I am and w hat I am about. I th in k it was w ell done. I thought it was very com plete.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
83
I th in k the angle you chose (Learning The Concerto) was the best p art o f the video. It was very educational because one could hear the narration and see the angle o f how the mallets struck the instrum ent. It is perhaps the best cam era angle that one could choose. The slow m otion technique was ideal, and in general the teaching techniques were very w ell done. I thought the transfer from the slow m otion segments to the perform ance clips were a very good idea. It was also very easy to see the m allets striking the instrum ent. The color contrast between the instrum ent and m allets was easy to see. You broke down the concerto into m ultiple parts and w orked out every section and I was happy w ith its instructional content. I th in k the way you correlated the inform ation in the Reference Study Guide and the Instructional Video was done very w ell. Besides the quality o f the video not being very good, I do not agree w ith a lot o f yo u r stickings. You are different than m yself and I don’t have anything against your choice. As a perform er you sound good playing, but I d iffe r in my approach on some o f the techniques you discuss. Especially w ithin the second m ovem ent. My inside m allet w ill play the very end o f the bar, and m y outside m allet w ill play tow ard the m iddle o f the bar. I strongly believe in this hand position.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
84
I respect the way other perform ers approach m y music, and as a composer, I th in k that this is good. If everyone perform ed m y music exactly the same, life w ould be very boring. M y phrasing also d iffers in the opening o f the second movement; I try to let the m elodic line breathe more. I thought th at the orchestra was not very good, you played w ell. I th in k the orchestra probably was not as good because o f the sound q u ality. But I th in k you played very good. I th in k that you have a good technique. This is just interpretation. You are not changing notes. You are doing things d iffe re n tly on aspects th at are not w ritten . You do it d ifferen tly, Evelyn Glennie does it d iffe re n tly , and I do it d iffe re n tly . Who ever views this tape w ill get m ore o f your approach, and if I were to teach them I w ould show them mine. You d id a great job w ith the budget you had to w ork w ith. You provided a very comprehensive description o f the perform ance. U nfortunately, the sound o f the video was not very good, but for your budget, and being a doctoral dissertation, I believe it should be judged by its content, and I thought you d id very w ell. Everything is perfect. The only thing as I said th at I disagree w ith is your approach w ith the second m ovem ent, but again this is a m atter o f taste. You
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
85
explained my style o f composing, but it would have also been nice if you described m y style o f playing too. I th in k the way you designed it, it was ju st very w ell done. V ery com plete, it was perfect. 1 th in k th a t this video is very h elpfu l ju st the way it is. I have never seen anything like this design. Maybe you can even post it on the In tern et through the Percussive Arts Society fo r others to learn about my w ork. I fe lt overall th at this is very w ell done. If I w ere to grade you I w ould give you an ‘A’. (N . Rosauro, Personal Communication, January 25, 2000) Percussive Arts Society The Percussive Arts Society (PAS) is an in tern atio n al n o t-fo rp ro fit professional association, whose purpose is to provide and prom ote educational venues fo r the profession. M em bership consists o f university faculty, students and perform ers who present and discuss its research and pedagogical techniques through the organization’s publication, Percussive Notes. Each year the Percussive Arts Society convenes th e ir in tern atio n al convention. PASIC (Percussive Arts Society In tern ation al Convention), provides members and non-m em bers alike, w ith numerous master classes, perform ances, guest lectures and exhibits by m anufacturers, publishers and record com panies. In
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
86
ad d itio n , PAS sponsors research deemed w orthy by the Scholarly Research Comm ittee fo r presentation at this event. The Scholarly Research Com m ittee is a three judge panel th at is chaired by Dr. Kathleen Kastner o f The W heaton College Conservatory o f Music, along w ith Lisa Rogers o f Texas Tech U niversity and James Strain o f N orthern M ichigan U niversity. Yearly this com m ittee welcomes its mem bership to subm it research presentations fo r evaluation. Out o f the num erous applicants that apply, no m ore than three are invited to present th eir research. On June 12, 1999 the Percussive Arts Society o n ly in vited two individuals to present th e ir research, and deemed this study as the best research project fo r the percussive arts o f 1999 (K. Kastner, personal com m unication, July 22, 1999). Im proving Upon The Final Project
In retrospect, there are areas o f these m aterials th a t I w ould consider altering, p rim a rily in the m anner in which they were produced. As previously stated, the use o f broadcast q u ality equipm ent perm its one to record d ig itally, im proving the audio and video q u ality imm ensely. U nfortunately, if access to a university setting is not perm issible, it w ill significantly im pact negatively upon the budget previously established at $2,500.00.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Assuming an arrangem ent can be made w ith a university film /broadcast program , which is lik e ly possible and probable (as I d id w ith this production), I would make the following changes to the “Instructional Video” w ithout it im pacting upon the in itia l budget First is to record my interview w ith D r. Rosauro a t a studio instead o f film ing it in a practice room; and incorporate m ultiple cameras and w ear sm all personal microphones. The background would be a black set, as we would sit a t a small round table. Thus the view er w ill be able to see and hear the interview w ith greater clarity. In addition, I m ay wish to incorporate video clips o f D r. Rosauro perform ing or dem onstrating specific excerpts th at are discussed during the in terview . In p art two, “Learning The Concerto,” I would prerecord the concerto in a recording studio w ith only piano accompaniment. The accompanist would perform on a synthesizer using a d ig itally enhanced string sound patch. This w ill perm it greater rehearsal tim e at the same cost the musicians were in the in itia l perform ance The d ig ital c la rity o f the synthesizer w ill save tim e because it can be d irectly connected to the mixing board. Therefore, instead o f video taping and recording the audio tracks a t one tim e, the focus can be tow ard perfecting the perform ance o f the work, w hile creating a higher quality audio recording.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
88
This change in procedure w ould be accompanied by adjustm ents in the estim ated recording tim e-line. For instance, each movement would be recorded in a three hour session, as opposed to recording the entire concerto in one four hour session, w hich included m ultiple takes; adjustm ents o f cam era angles and lighting; and rehearsal tim e. Once the audio tracks have been recorded, I would film the perform ance o f the w o rk w ith m u ltip le cam era angles as I p lay along w ith the prerecorded tracks. These m u ltip le camera angles w ould be d irectly above the m arim ba, w ith the e n tire instrum ent visible; from an audience perspective, and as close as possible so th at the perform er and the e n tire m arim ba is in view; and d irectly from the right and le ft o f the instrum ent, as the cameras are placed a t the same level as the m arim ba, thus one can see the height o f the mallets as they strike the instrum ent. In addition, and w ith o u t a music stand, the soloist w ould be the only one on stage. These adjustments w ill enhance the p rim ary purpose o f this section as all visuals are focused tow ard the soloist a t every possible cam era angle. The order th at the excerpts are presented would rem ain the same: slow-m otion excerpt accom panied w ith narration, follow ed by the actual perform ance o f the excerp t This is the most logical approach w ithout lengthening the video by inserting a clip o f the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
89
perform ance p rio r to the slow-m otion excerpt, followed by the same perform ance clip, as was suggested by some o f the evaluators. A nother suggestion was to have the perform ance clip first, follow ed by the narrative slow-m otion clip second; again, this w ill im pact on the logical progression o f the lesson. By dem onstrating and discussing the slow-m otion clip firs t, one can then relate the inform ation discussed to the perform ance clip rather than seeing a perform ance o f an excerpt, then explaining w hat one should try and accom plish, as it is then follow ed by a d iffe re n t excerpt. Last, I w ould include a tim e-code fo r each excerpt th at is visible on the screen, and post it w ith each notated excerpt in the “Reference Study Guide.” In p art three, “The C ulm ination,” I would use the same video angles and clips that were used in p art two. Thus, there w ould only be one video session for the perform ance w hich would be used fo r the slow-m otion video clips and the com plete perform ance. Recommendations For Further Research The content o f these m aterials focuses on D r. Ney Gabriel Rosauro and his Concerto fo r M arim ba and Orchestra. The design of the m aterials encompasses three m ajor areas: musicology, music pedagogy and music perform ance. In so doing, one is presented this inform ation in a m anner th at deviates from the norm.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
90
The musicologist a n d /o r applied instructor is no longer the source o f inform ation about the composer, his com positional style or his in ten t fo r his com position. The view er is also exposed to a detailed description o f a m ajor w ork w ithin the percussionist’s repertoire: as a perform ance; as an academic essay about the composition; as a technical and musical dem onstration o f the requirem ents necessary to perform this work; and how the inform ation presented by the composer, through the interview , correlates into the com plete perform ance o f this concerto. The conceptual design o f these m aterials: interview w ith the composer; detailed perform ance analysis o f the solo m arim ba part to this concerto; and a com plete perform ance o f this w ork is certainly applicable to many other compositions w ithin the percussion repertoire. This sim plistic design, opens the realm o f accessible inform ation to m any who are not fam iliar w ith prom inent works, and also becomes an historical memento that the profession can refer to years a fte r the passing o f the given composer. Incidentally, assumptions o f the composer’s intent, based upon years o f analysis, can be diverted, thus expediting the learning process for m any. The applicability o f this design can be most beneficial to other areas besides prom inent concerti. For instance, such a design would be quite useful w ith m ethod books, especially those methods that concentrate on etudes o f varying levels. Thus one can become
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
91
fam iliar w ith the methods purpose, through its author, w hile seeing and hearing the developm ent o f its content. This may also be applicable to solo compositions that do not require accompaniment, an d /o r small cham ber works. Regarding o ther areas o f applied study, it should be determ ined by those who specialize in these areas as to its applicability, a n d /o r how certain sections may need to be altered or elim inated to achieve the desired in ten t. Further recommendations fo r research, o r ways to expound upon and incorporate the process o f this study, is to catalog significant works fo r percussion: concerti, solo works and etudes that are commonly requested for auditions a n d /o r studied. A dditional research can be conducted to determ ine how such m aterials benefit o r detract from students learning in eith er a group setting, applied lesson, or as a teaching aid for either. As technology progresses, experim entation should take place to see how this design can be transferred to a CD-ROM, which would include the “Reference Study Guide” and the “Instructional Video.” Options could include one being able to observe a given excerpt in a variety o f d iffe re n t angles and tempos w ith ju st a click o f the computer mouse. Today, music is purchased by downloading it from the Internet. Soon a ll personal com puters w ill be able to view and download fu ll length videos from a given web-site. Therefore an
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
92
other area to explore would be to form at such instructional m aterials th at can be viewed by dow nloading it from the In tern et and saved to one's hard-drive a n d /o r transferred to a CD-ROM. In turn, all the sounds and sights w ill be o f d ig ital q u ality and cataloged through a reference w eb-site. Conclusion
To conclude, the design o f these m aterials, and its indirect purpose, was to bridge this author’s perceived gap between music pedagogy and music perform ance. These instructional m aterials dem onstrate to the view er a concisely detailed pedagogical tool, w hile presenting the pedagogue’s a rtistry in his perform ance o f the work. Therefore the analysis o f this com position is not only discussed through the eyes o f an applied pedagogue, but as a perform er preparing a m ajor concerto. Thus the pedagogue is not only view ed as an analytical instructor, but also as an artist. W ith the continuous expansion o f new percussion literatu re, the perform er, student and pedagogue m ust have access to reference m aterials th at not only grant the a b ility to hear a p articu lar w ork, but provide greater insight as to the necessary technical requirem ents o f the com position and the in ten t o f its composer. Because o f this, the profession m ust look tow ard designing new
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
93
instructional m aterials that concisely delineate a com prehensive perform ance analysis o f a given w ork and its composer. Therefore it is the hope o f this author, th at these instructional m aterials w ill create dialogue w ith in the profession, bringing about fu rth er thought on new com prehensive m aterials th a t may utilize m ulti-m edia instruction. Thus broadening the profession’s knowledge o f it’s literatu re, w h ile creating new avenues o f accessible inform ation fo r the student, pedagogue and perform er.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
94
References
A lbin, W . R. (1 9 7 9 ). The developm ent o f videotaped instructional
units for teaching selected aspects of malktzplayedJatin. am erican. and accessory percussion instrum ents. Unpublished doctoral dissertation, Indiana U niversity. Baker, D. S. (19 80 , Spring). The effect o f appropriate and inappropriate in class song perform ance models on perform ance preference o f th ird and fo u rth grade students. Toumal o f Research in Music Education. 28. 3-14. Blades, J. (1 9 9 2 ). Percussion instrum ents and th e ir history (Rev, ed.). W estport, Connecticut: The Bold Strum m er, LTD. Brown, C. R. (1972, October). The video tape recorder. Teaching aid. Instrum entalist. 27. 54-55. Bumsed, C. V. & Etters, S. (19 97 , Spring-Sum m er). The effects o f view ing videotaped music perform ances on the perception o f the elem ents o f music. Update. 15. 13-18. Cahn, W . L. (1 9 9 5 ). The xylophone. In J. H. Beck (Ed.), Encyclopedia o f percussion (pp. 347 -3 5 4). New York & London: Garland Publishing, Inc. Daellenbach, C. (1 9 6 7 , M ay). Video-tape recorders a t eastman. Instrum entalist. 21. 26-28.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Evans, M , Greenw alt, L., Rosenthal, R. K., W ilson, M. (1 9 9 4 ). Effects o f d ifferent practice conditions on advanced instrum entalists’ perform ance accuracy. In Abeles, H. F., H offer, C. R., Klotman, R. H. (Ed.). Foundations of music education (pp. 3 6 5 -3 7 1 ). New York: Schirm er Books. Forsythe, J., & Gonzo, C. (1976). Developing and using videotapes to teach rehearsal techniques and principals. Toumal o f Research In Music Education.24. 32-41. Gillespie, R. (19 89 , F all). A comparison o f the relative effects o f structured video training and teacher directed instruction on the developm ent o f violin bowing diagnostic skills. Dialogue in Instrum ental Music Education. 13. 87-93, Hawes, C. B. (1 9 8 2 , M arch). Audio-video technology in the classroom: W hat w ill they th in k of next. Instrum entalist. 36. 42-45. Jacob, I. G. (1973 , F all). The constructional developm ent o f the m arim ba. Percussionist. 11. 31-35. Jacob, I. G. (1 9 7 4 a, W inter). The constructional developm ent o f the m arim ba part: 2. Percussionist. 11. 72-76. Jacob, I. G. (1 9 7 4 b, Spring). The constructional developm ent o f the m arim ba p art 3. Percussionist. 11. 121-127. Jacob, I. G. (19 74 c, Summer). The constructional developm ent o f the m arim ba p art 4. Percussionist. 11. 145-152.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Kaptain, L. D. (1 9 9 5 ). The m arim ba in mexico and related areas. In J. H. Beck (E d.), Encyclopedia o f percussion (pp. 2 3 9 -2 5 6 ). New York & London: Garland Publishing, Inc. Kitchen, O. (1 9 6 8 , January). Video tape recorders at elizabethtow n college. Instrum entalist. 22. 24-25. Labuta, J. (1 9 7 0 , Septem ber). V tr (Video tape recorder). In stru m en talist. 25. 8 7-88 . Lam bert, J. (1 9 9 7 , February). An in terview w ith b razilian percussionist and composer ney rosauro. Percussive Notes. 35. 4 1 -4 3 . Larrick, G. (1 9 8 9 ). A nalytical and biographical w ritings in percussion music. New York: Peter Lang Publishing, Inc. Linklater, F. (1 9 9 7 ). Effects o f audio and videotape models on perform ance achievem ent o f beginning clarinetists, loum al o f Research in Music Education. 4 5 . 4 0 2 -4 1 4 . M eyer, F. (1 9 7 6 , June). Video-taped music lessons. Instrum entalist. 30. 2 8 -3 0 . Powley, H. (1 9 8 7 ). On Tonarhan haas virtuoso tim panist. Compact disk. London: CRD Records LTD (1988). Rodabaugh, P. D. (1 9 7 1 ). Im proved teaching through the use o f the video-tape recorder. M issouri lo u m al o f Research In Music
Education. 11, 67-84.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Rosenthal, R. K. (1 9 8 4 , January). The relative effects o f guided model, model only, guide only, and practice o n ly treatm ents on the accuracy o f advanced instrum entalists musical perform ance. loum al o f Research in Music Education. 32. 265-272. Siwe, T. (1 9 9 5 ). Percussion solo literatu re. Cham paign. Illinois: M edia Press, Inc. Vezzetti, R. (1 9 7 1 , Septem ber). The video tape recorder: A great teaching tooL Instrum entalist. 26. 60. Weiss, L (19 99 , O ctober). Ney rosauro: Composer and percussionist. Percussive Notes. 37. 59-60 . W hite, Kenneth (1 9 9 9 , January). The cam corder in the classroom: Forgotten technology?. Tem po. 53. 68. Zeltsman, N. (1 9 9 7 , October). Musings on the m arim ba and its study 1997 p a rt 1. Percussive Notes. 35. 5 1-55 .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
98
A ppendix A
Reference Study Guide
Practice regimens are a personal developm ent each musician devises over years. The following recommended course o f study should be incorporated into one’s practice regimen when utilizing these instructional m aterials. These m aterials alone do not address technical developm ent. Thus, instructors may wish to include additional studies o f either method books a n d /o r personalized technical exercises composed for the student. These m ay address technical deficiencies that the student may experience once commencing w ith this study o f D r. Rosauro and his m arim ba concerto. First, a ll o f the biographical inform ation pertaining to Dr. Rosauro and his concerto should thoroughly be read. Then the instructional video should be view ed in its entirety. W hile viewing the instructional video, this Reference Study Guide should be close at hand, especially when viewing p art two, Teaming The Concerto, and part three, The Culm ination. Therefore one may note and correlate
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
99 the excerpts th at are to follow as they are perform ed in the Instructional Video. A fter carefully com pleting the instructional m aterials one (w ith th eir instructor’s guidance) should be able to determ ine if th eir technical proficiency is lacking through the study o f these m aterials. To assist in this process, it is highly recommended th at one study Dr. Rosauro’s “Three Preludes.” These works require the m arim ba soloist to utilize the same techniques needed to perform his concerto. These perform ing techniques are: hand positioning; rhythm ic accuracy and feel fo r the m etric pulse; clarity and tone; the shape and m olding o f a phrase; single-hand roils; and hand independence. It should be noted th at the study o f the preludes are not a prerequisite to studying this work; though these works do enlighten one to the com positional style and technical demands o f the percussionist o f the Rosauro concerto. Because o f this works rhythm ic nature, and its technical demands, one should w ork closely w ith a m etronom e. Indicated w ith each excerpt are the suggested m etronom e m arkings; thus the choice o f tempo is le ft to the perform er’s discretion. It is im perative to practice these excerpts a t dram atically slower tempos than those indicated for perform ance. The objective o f practicing in this m anner is to develop the w ork to the desired tem po, but m ore im portantly, it focuses one on every detail o f the com position.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
100 Once one obtains proficiency o f a given excerpt (th e point that one can perform an excerpt at the suggested m etronom e m arking), it would then be advisable to review the given excerpt as it is discussed and perform ed in p art two, Teaming The Concerto. Upon becoming p ro ficien t perform ing a ll o f the excerpts at th e ir designated m etronom e markings, can they then be combined to form the w ork in its en tirety. W hen com bining these various sections it w ould again be advisable to use a m etronom e while subdividing. Therefore one can better understand and adjust w hile combining those excerpts th at have m eter changes and d iffe r in rhythm ic pulse. Prior to doing such, one should review p art two and part three (The Culm ination) o f the Instructional Video. A t that tim e, one is no longer a novice, but one who has developed an understanding fo r this w ork and its composer. To practice in this m anner it is im perative to pay close attention to hand movements. Regardless o f the g rip used to hold four mallets, certain techniques should be focused upon w hile practicing. These techniques are: c la rity and evenness o f tone between each m allet o f eith er hand; avoiding any clicking o f mallets w hile perform ing; concentrating on proper rotation of one’s hands; and the rap id change o f intervalic relationship between the m allets o f e ith e r hand. Besides these technical aspects, one must also
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
101 take strong consideration o f th e ir hand positions on the instrum ent, to either avoid o r u tilize the nodal points to th eir advantage. W hile developing one’s proficiency o f the aforem entioned, it is advisable to begin listening to other recordings o f this concerto. Indicated in this study guide is a com plete list o f those recordings that contain a perform ance o f this concerto, as w ell as other works composed by Rosauro. The following interpretations provide contrasting stylistic perspectives to the perform ance o f this w ork (in addition to those stylistic perspectives presented in part three o f the Instructional Video): “Rebounds” by Evelyn Glennie and the Scottish Chamber Orchestra, “M arim ba In Concert” by Severin Balzer and the Kammersolisten Zurich, and “Works o f Rosauro, V illa Lobos, Fernandez and Pascoal” by Ney Rosauro and the UFSM Percussion Ensemble. Furtherm ore, one m ay develop new ideas by listening to these recordings an im prove upon th e ir concepts o f phrasing, tone color, rhythm ic attack and tem pi. In closing, as one studies the follow ing, it is im portant to question the perform ance analysis discussed in the Instructional Video and those sticking patterns that are noted in this Reference Study Guide. This allows fo r one’s personal thoughts and ideas to evolve. It is very im p o rtan t to experim ent w ith the designated analysis, and see w hether o r not it works w ell w ith one’s ideas o f tone color, phrasing and overall approach in regards to technical
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
102 applications. It should be noted that these instructional m aterials cannot replace one’s own concepts, nor replace the importance o f an applied instructor. Biographical In fo rm a tio n
W orld renown percussionist, composer and pedagogue b riefly describes the accomplishments o f Dr. Ney Gabriel Rosauro. Since 1987, he has been a professor a t the Federal U niversity o f Santa M aria in South Brazil. A t the university, D r. Rosauro is the head o f the percussion departm ent, and was the director o f the School o f Music from 1988 to 1989. His compositions have been perform ed by some of the w o rld ’s leading artists and orchestras, such as: Evelyn Glennie, Severin Balzer, The London Symphony Orchestra, Kammersolisten Zurich, The Houston Ballet, Scottish Symphony Orchestra, Bayerisher Rundfunk, The Colon Theater, NHK Television Tokyo and the BBC in London. As a perform er, Dr. Rosauro has numerous solo recordings to his credit. In 1990 he was nam ed M usician o f The Year by the Musical Press o f South Brazil for his solo album “M arim ba Brasileira.” Along w ith his recording credits, he has perform ed and conducted m aster classes across the globe.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
103 Ney Rosauro was bom in Rio de Janeiro, Brazil on October 24, 1952. At the age o f tw elve, he began his m usical studies on the g u itar and the double bass. At eighteen Rosauro left home and supported him self by playing the electric g u itar, bass and m andolin in Brazilian nightclubs. There he began to leam by instinct, harm ony and jazz im provisation. From 1972 to 1978, Dr. Rosauro was a com position and conducting student a t the University o f Brasilia. He was also a percussion teacher a t the Brasilia School o f Music, w hile perform ing as the Principal Tim panist and Principal Percussionist fo r the N ational Theater O rchestra o f Brazil. It was d u rin g this tim e th at Rosauro began to atten d percussion classes o f Luiz D’Anunciacao o f the Brazilian Sym phony Orchestra in Rio de Janeiro. During a summer music camp in Brasilia, I had the opportunity to listen, for the first tim e, a solo percussion concert w hich was perform ed by Luiz D ’Anunciacao, and it was love a t firs t sight. I was com pletely astonished about a ll the new possibilities th at the percussion instrum ents could give me. Especially the harm onic possibilities o f the m allet percussion instrum ents. From th at evening on, I q u it m y bass studies and started working w ith in ten sity and patience to leam the percussion instrum ents. A fter th a t sum m er camp in Brasilia in 1 9 7 7 ,1 started traveling every three weeks from Brasilia to Rio de Janeiro (22 hours) to study p rivately w ith Luiz D ’Anunciacao. (Lam bert, 1997, pg. 4 1 ) In 1980 D r. Rosauro studied percussion and pedagogy w ith Professor Siegfried Fink a t the Hochschule fo r Music in W urzburg,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
104 Germ any, where in 1987 he com pleted his Masters Degree. As a scholarship student, this was the firs t tim e th at D r. Rosauro was not concerned w ith finances, and was able to practice w ithout interruption. Some o f the best percussionists o f Germ any were studying in W urzburg during th a t tim e, so I learned percussion not just through Professor Fink, b u t I also was able to listen to other percussion performances and to exchange ideas w ith other percussion students. Living in and knowing Europe and its musical history, combined w ith the am ount o f contem porary m usic all around was a very gratifying cultu ral and m aturing experience fo r me. I spent m any hours practicing tim p an i, snare drum and m ultiple percussion and fin ally realized m y dream when I began playing the m arim ba w ith four-m allets. (Lam bert, 1997, pg. 4 1) At the U niversity o f M iam i, from 1990 to 1992, D r. Rosauro pursued his doctorate. He studied under the close supervision o f Professor Fred W ickstrom , becoming the firs t B razilian to be awarded the Doctor o f Musical Arts Degree in Percussion. Fred W icks trom was a very good teacher and a very open-m inded person who pushed me to try m any d ifferen t things in m usic. The knowledge th a t I gained a t the U niversity o f M iam i was again a com pletely new focus on music. During m y studies in G erm any I learned a llo t about percussion technique, orchestral studies and new contem porary repertory. In M iam i m y experience was com pletely d ifferen t; in ad d itio n to percussion, I learned to play jazz and to w ork w ith the music com positional process at the com puter. I also learned some very useful knowledge about the music business and how to protect m y rights as a composer. (Lam bert, 1997, pg. 4 2)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
105
Compositional Developm ent
In 1982 Dr. Rosauro began to perform as a concert soloist w hile organizing percussion ensembles for his students. W ith each new technique th at he acquired, D r. Rosauro was com pelled to share this knowledge w ith his students. As an educator he recognized the lack o f percussion m ethod books published in Brazil. D r. Rosauro utilized his compositional abilities to compose m ethod books for his students. His most popular m ethod books are his “Complete Method for Snare Drum ,” and “Etudes for M ultiple Percussion.” From the tim e th a t I played the g u ita r I tried to compose something, and many o f these early ideas were used la te r in my other com positions. During the tim e I was a com position student in Brazil, I started w riting only dodecaphonic and serial music. T h at was a ll the m aterial we were allow ed to use, but honestly speaking, I do not like any o f those early pieces. My firs t percussion pieces were w ritten during the process of learning percussion so several o f m y pieces were w ritten to increase the available repertory o f B razilian music fo r m allet percussion. This was also a very im p o rtan t way to develop my percussion technique, especially fou r-m allet technique. (Lam bert, 1997, pg.42) Dr. Rosauro’s inspiration to compose, comes at peaceful times when he is alone w ith his instrum ents. He considers composing to be the purest form o f expressing his inner musical thoughts and feelings. Thus D r. Rosauro does not follow a particular school o f
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
10 6 com position. He creates based upon what his ears dictate and not the current trends in com position. Ten years ago, during my firs t visits to Europe and the U nited States, I started looking fo r a publisher fo r m y compositions, and my firs t contacts w ere very frustrating. A t that tim e, trad itio n al m elody and harm ony were param eters avoided by alm ost a ll m odem composers and nobody w ould believe th at a Brazilian guy w riting m odal music fo r the m arim ba could be someone w orth m aking an investm ent in. For example, Evelyn recorded my Concerto fo r M arim ba and Orchestra on her Video and CD, the same composition had been rejected by fo u r d ifferen t m ajor publishing companies in the U nited States and Europe. I had to always believe in the potential o f m y compositions and never stopped w orking hard on m y percussion composition projects. (Lam bert, 1997, pg. 43)
The Concerto
The M arim ba Concerto is approxim ately eighteen m inutes in length, com prised o f four movements: I. Saudacao (Greetings); II. Lamento (Lam ent); III. Danca (Dance); and IV . Despedida (Farew ell). The w ork was prem iered in 1986 w ith the M anitowoc Sym phony Orchestra, under the direction o f Manuel Prestamo w ith D r. Rosauro as the soloist In 1990 the concerto was first recorded on compact disc, by the Swiss m arim bist Severin Balzer and the Kam m ersolisten Zurich Orchestra. In 1992 it was recorded by Evelyn Glennie on video and compact disc. Since then the concerto has been perform ed by m ore
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
107 than 400 orchestras w orld wide. The num ber o f perform ances u tilizin g the piano reduction and percussion ensemble version is even larger. Because o f the popularity o f this concerto, not only among percussionists, but audiences alike, it is the most perform ed m arim ba concerto this decade (A. Lipner, personal com m unication, January 19, 2 00 0). A rran g em en ts
The concerto was o rig in ally w ritten fo r string orchestra. It is com prised o f the follow ing instrum entation: V io lin I, V io lin II, Viola, Cello and String Bass. The piano reduction was firs t perform ed in 1986 at the N ational Theater o f Brazil, again w ith Dr. Rosauro as the soloist, and Ana A m elia Gomide as his accompanist. In 1989, D r. Rosauro arranged movements one, two and four o f the m arim ba concerto fo r percussion ensemble, and th at same year he prem iered the arrangem ent w ith the M eistersinger Konservatorium Percussion Ensemble in Nurnberg, Germ any under the direction o f H erm an Schwander. The com pleted arrangem ent w ith a ll four m ovem ents was prem iered in 1995 in M anchester, England w ith Edward Cervenka as the soloist and the RNCM Percussion Ensemble, under the direction o f Ian W right. The instrum entation fo r the percussion ensemble version is the following:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
108 M arim ba, Xylophone, Vibraphone, Glockenspiel, Five Tim pani, Drum Set, Cow Bell, Triangle, Pandeiro, Tam Tam , Cymbals, Chimes, Castanets and W ood-Block. Dr. Thomas McCutchen wrote a w ind ensemble arrangem ent o f the marimba concerto. The instrum entation for this arrangem ent is: Piccolo, Flutes I and II, Oboes I and II, English H orn, Bassoons I and II, Contra Bassoon, C larinets I and II, Bass C larinet, A lto Sax, Tenor Sax, French Horns I and II, Trum pets I, II and III, Trom bones I, II and III, Euphonium , Tuba, String Bass, M allets I and II, Percussion I and II and Tim pani. D r. Rosauro made certain th a t each arrangem ent exactly follows the original com position, so the perform er who learns his m arim ba concerto w ill have no problem perform ing w ith any o f the arrangem ents.
Concerto's-Form The m arim ba concerto is based upon Brazilian and Jazz m otifs. It is w ritten fo r the advanced perform er, requiring the soloist to use four mallets in each movement. The firs t, second and fourth movements call upon the soloist to perform an ostinato progression and trem olo (M ovem ent II) w ith the le ft hand, w h ile the rig h t hand perform s the m elody. The solo m arim ba part o f this piece is w ritten in such a m anner th at the soloist could perform this w ork w ithout
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
109 any accompaniment. Thus, Dr. Rosauro structured this composition with the soloist in the forefront, leading and setting the pace fo r the orchestra, percussion ensemble, accompanist o r w ind ensemble. His goal is fo r the concerto to be inspirational, not only to the listener, but also to the soloist. The concerto, and D r. Rosauro’s work in general, is not purposefully based upon Brazilian m otifs, but one cannot help but hear his native Brazil in his compositions. Dr. Rosauro was asked to provide any inform ation th at best represents his feelings and thoughts about his “Concerto fo r M arim ba and Orchestra.” Most commonly Dr. Rosauro resists speaking about his work. In tu rn , he supplied this in q u irer w ith a b rie f description by Neil Butterworth: Saudacao is a rondo whose principal theme o f irreg u lar bar lengths imposes a restless character to the whole movement. There are three episodes inserted between the repetitions o f the rondo theme, a sequence of dissonant chord clusters, a cool jazz digression and a lively syncopated tune. The Lamento is the longest movement o f the Concerto, it is in four parts, opening w ith a chrom atic figuration on the m arim ba against a trem olo accompaniment. The orchestra comes to the fore front in the second section w hile the soloist adds a chattering descant, followed by a m arim ba solo o f trem olo chords, before the opening music returns. Danca, a scherzo marked M olto A nim ato, is a b rillia n t toccata fo r the soloist w ith hardly a space to take a breath. The virtuosic display o f the movement is fu rth e r developed in the Finale, Despedida, which reaches an exciting clim ax that leads to the principal cadenza. In the recapitulation, m aterial from the previous three movements is recalled. (N. Rosauro, personal com munication, 1991)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
11 0 D r. Rosauro’s contribution to the w orld o f percussion grows each year. He has tw enty-four works in his catalog, w ith another six in the finale stages o f com pletion. His latest accom plishm ent is his “Concerto fo r Vibraphone and Orchestra,” w hich is dedicated to Evelyn Glennie. His “Concerto for M arim ba and Orchestra,” its arrangem ents, and D r. Rosauro’s complete catalog o f works and m ethod books are a ll published by Pro Percussao Publications, and are distributed w orld w ide by M allet Works M usic o f Stam ford, Connecticut Musical Excerpts The following excerpts correspond w ith those perform ed in p art two o f the Instructional Video entitled, Team ing The Concerto. Each excerpt bears the title o f its m ovement and section, as is the same fo r the Instructional Video. Therefore, one can easily correlate a given excerpt w ith the Instructional Video fo r quicker and easier reference. The excerpts fo r this study were chosen fo r one or more o f the following reasons: technical d ifficu lty, questionable phrasing, and overall im portance to the given movement. Those excerpts that have specified stickings w ere chosen due to th eir com plex sticking patterns. These specified sticking patterns are based upon the use o f
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Ill the Burton G rip. Thus those who are proficient in another four m allet grip may d iffe r in sticking preference. 4
3
2
1
Left Hand Right Hand
The above diagram indicates the num bering system used to denote m allet stickings in the aforem entioned excerpts. As indicated in the diagram , each num ber corresponds to a given m a lle t Therefore one can correlate this num ber system to its designated m allet and hand as it pertains to the excerpts w hich follow . The follow ing was d irectly excerpted from the solo m arim ba p art o f this concerto, and used w ith the expressed w ritten consent o f D r. Ney Rosauro and Pro Percussao Publications. The Rosauro “Concerto for M arim ba and Orchestra” was Copyrighted in 1992 by Pro Percussao, Caixa Postal 5063 (UFSM), 97111 Santa M aria - RS, Brazil; and is registered in Germ any under GEMA.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
112
Movement One Section One
Quarter Note =152
4
3
3
4
4
4
4
4
3
3
4
4
4
4
4
3
3
4
4
4
4
3
4
4
4
4
3
3
3
4
4
3
3
4
3
4
4
3
4
4
decresc
4
3
3
3
4
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
4
4
3
113
[
4
%
j .
'
' »
' J
~
1
'
=
^
m f ■■ p - * j— *!»■«- n — = ^ ^ _J _________ —____ ^ ____flE___ S
p
$
H
4
3
3
4
4
4
4
.
—
j
----------- J — -o
J
m
4
3
3
' 1— • 4
y -7»-- ■
4
-
1-& r J_J _____________ ^
T '~ 1 —
4
1
7 m
3
3
j -
4
4
>
17 P J l a v ------
-
3
4
4
{■ J - J — ■ - ....................
-
4
4
4
3
■ ■ ■ ---------------n » ----------
—
4
4
3
3
4
4
4
4
-----1 j
> --------------- * ---------------
■ ■ #
3
'- ' I _____ g
^
3
3
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
4
4
114
: '
'
^
--------------- «
f H
— ^ 3 — b? ------ d -------; — d ----------------= ------- * -------■ — = -------h H
J .
4
4
3
3
4
4
4
* 3
3
4
4
4
3
rrgSC................................. ! $
45
t
------
-+■£ — ,--------------------
,
IH*
n
N
1 ~ l— 5 r j d ----------------= ------- « ------ « ------ ---------h H - J ---------------------------------- d --------------------4
^
k
------------- 4 ---------------------
3
3
4
4
4
N h7“ ~ -J-+S=3
« - | -------------------------- i ....... .......... —
3
-t-
3
3
---------------
4
4
>
--------------- * --------------
S3~J n *
f n 4
4
3
4
4
4
4
3
3
4
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
4
4
4
115
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
116
Movement One Section Two
Q uarter Note = 1 5 2
ZE cresc.
PP
m mf
3 1 3
l
3
I
3
1 3 1 3 1 3
wsm m 1
3
1
3
1 3
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
117
i j f
c
r
x
r
r
- f
r
^ i
1
3
1 1
3
----------- :------------------- ^
------
1
-
3
1
1
1 3
1
j > ------------- * --------------* ------
U J 3
y
_
...
.
%
_
T^ F ' 7 i 3
J
- #■
1
—
3
•|— |
1
1 3
1 3
1
* ju
p •------------- ^
1
3
1
3
1
-
3
3
—*-----------------------
# -------------- L 1 3
1 3
1
3
1
3
— -------------- h— , !r-----------------(
f i t .
f
1
II
6 --------II
# i % j J . j * t?
7 7 7 J J .
2 1
2 1
2 1
2 1
4
3
4
3
“ 7f " —- -u — «
f
f.-. J —
4
3
4
3
3
tf r iJ ? 4 3 v w 2 1
5--------1
*
7
~ H i •< 1
■4
w
2
2 1
2 1
2 1 *
-----------------
. . . T = -J 4
3
i r
+ f . 3 = :-::
^
^
r - f l
2 1
* - * ?
r 3
=
4
3
4
3
poco r a il ......................................
=
=
=
=■■=■■
0
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
d
130
M ovem en t Two Section T hree Q uarter N ote = 96
j r—r ^—--------— --------! -.— t —— ------^-4 ---------------- 1 -r-. &
§
A r~ -
A '
:
1
*
m p
---------------------------------------------------
f i-
t
f
ir~ "-----------s
-
f#
4= 4= 4^ — •; — ' 9:" 7 --------------------------------------------------
dUrt--- -
-------------------------------------------
i
— 5---------- 1
|9» ~ ' - -—... | Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
131
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
132
£
£
$
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
133
M ovem ent Two S ection Four Q uarter N ote = 9 6
1d tfj J -^= ----.1H
^ ------ i —j ---------
hsM1 3^ »/ --. zzL-3i r«t{- r f | * ----1 --------------------------------
—d---:------------■ III . ( -4 - 4 4 - ; W
1
J T ] t, —#— J-— 0---------'
/... .... =£--- = r r d B m~w— J-------- u4 r f r -f E£E— =
- i —p--TT-f- t J rT i 1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
... 1 -= l
• y C
J *
- 1
m
i / j
l i T
I ' j 1! 1
J*
t j
j
j
” J |— 1 = -= i— 1
j
----------------------------- — =---------—
h-----------------------------------------------------------1
J L f c
—
• § £ ------------------ .
\
w
-
«:
< ? -------------------------------------1 --I
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
-
^
135
----------------------
—
i f
. ~ i
v
° —
*
----------------------------
1
b > :
r a i l m olto.
sv i j . f £ T
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
.
t
136
M o v em en t T hree Section O ne Q uarter N ote = 1 5 6
t y - JJt
1 J j-7
v pi
Reproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
137
Y-
V * v
- f i f *>
g J%
g i%
» j* j v
i f v
£ T v
^
> 1 | j |
crescendo poco a poco.
v»
y
;
+
>
$
:
^ - £
y
y
£ T
v
C
f ^
■ ...
— _ . . y
l .
-0^ .
^
■
E
• g f | v
5>~ v
1 ^ -L _ ----------
fl ■T - . . \ a . l . ^ P
ii
S» %
& 1V
C
,
f >
1 7
----------------------. »■■■■=-------
/
f ' i - £*
.
If ^
7
r-*? —
- g r
9
* %
c
F
f
■-_ *r _s3 — —
a
P sn b ito
| v
J ^ v j ^ v
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
J ^ v j l
138
■ 3 3 T *J 3
/
7— J[ 3 -,— 7 J
7
a
, ------- •f
7
'-7
•Ip •/
^
J
L
f l ,
3 'J 7
J 3
7
7
^_7__ — ^f 3 ^7..—. ^ ----2---- m
3 J
7
1|
*
^ ._ .7
1
J
if 7
p
r
-g
p
i’ 7 '
a,
*1
3 ^ I!3 J I.
7
3
-J l X
a __ j
^ 3 “*r
3JL 3 3
1
7
1
7— J.f 3— ~5i----- ifp^------- pTC------- pB------- P
cf
|i-3 7
p «#
f - L v - '- g - g - T - g g ^ f g 7 ■
3 3 7
*------l \f-9------- pB--------f-B------- p 7 7 p 7 g - ^ = #
3 3
1- 9
* J 7
V
*f
f l l
I
y— ^ if J 3 - 7" J a - 7 ■
i
$
s i1
r r - y - '* - f v - -
L^S— ^------l?-ip-------- Ej*-------- £-af------- L ,- - 1 $ •> ■ c p - p H F
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
s f1
&
139
:r
43?:?:
crt!SC.................................
--1#-----f (•---- #i •# I»----_*. 7 7_
-9*-?— r «/ ~ r
m
0
\
0
m*
"10
—
f V ^-4-ir-Tr3“lT n I ^ |iJ j 7 3 3JL 337 X37 Ilkl T i 4 7 33 j a7 1 c» fi;----- ----- ----•----- — r---- r---- •---■4i j-- a 7—*. ■f ..... gjL —P P ^ ------ --------k \
7
j
\>0
—
—
. . .
. . p
-^£j§■-# "47, L-L-*-) '^ - a " M c i< 44~s— P _ | _ y t j" 7 g -7 7
k>;—-L-W -—"f------r------ tt |» » ■» '•— ‘ ^ 1— —^-L-' p J c r g
B.
~
i ■-- - -* , jK! __
.
--
—i
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
=
140
Movement Three-Section .Two Quarter N o te = 120 ,k[ j ® ^ —J—
--- J — —
1 Vf J L|
j - y7 ■a
J ----
f t
f ^
i? i - ^ ^—
= pi =
■■l l u - i a j c e ^
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
— " |r
141
M ovem ent T h ree Section Three Q uarter N ote = 1 2 0
A
h
,
y
.c m
f
c
i
1
13
1
13
i --------- s ---------- ^ 1
3 3
j~ 2 2
1
3 3 3 3 3
7 ^=1
3
3
3
3
3
3
1
1
1
1
1
f ~~
1
>--------- f --------i * --------- 1-------------3
2 J h-- ArJg 1 1 1 1 1 1
I
3'
2
13
■
1 1
3
13
1 1 1 1 1
1
•—
i ' 1* s=±=
3 3
3
3
3
3
3
3
3
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
-------------- 1
_
• ----1---
142
.^ z x r i. ^
j)7.n.n '=3
i
i
i
i i i i
4
4
3
3
=
*
i
/
33
3
4 3 2 3 2 3 2 3 1 3 2 3 2 3 2 3
acell. poco a poco
m.
f
l-l. - f f £ = 2 3 2 3 2 3 2 3
=
l
a~U'~j ~-------------- — I
1 3 2 3 2 3 2 3
------------------------------------------------------ ^ ~ Y : r — — ----------------------- — - ------------- ' i
l
:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
143
M ovem en t T hree S ection Four Q uarter N ote = 1 6 0
£
&
= i p
5E
$
i
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
---------------------
r ----------------------------------------1----------
M.
f>■
f-
#
- jP —
f f r "i • "
f1 "
^ ie E r L C P
L ^ T T v
- -
---------------- H ---------
— «__ kj ; f - f -4
J
S
t
»r
9 1-------- H I t -------------9--------- £ ------LH — s
N t d ft
i—
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
*.
p.
M.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
ML
v
\,K
u
p
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
147
M o v em en t Four Section O ne Quarter N ote = 192
j) a
%— ..... 1?~X~
-
.
_=
/ k
s
i -
r
r h
F ------------------f
g
g
#• g
£ ►#■
=
ft. ------------- i_a-------------------------------------- ----
»-s----------r
r :r. jr: }^ f■ j
'
- ........ ' 1
14
■
■
••
. .
- ■ y
=
i
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
•=
148
: P
a
f ------------------------- ^
- r ----------------------------------------------------------------------
U
= q n r f - f
f
f
—
......................
- + J ---------------W ------------------Is ----------------- 1
f ^ ---------- H
f
f
f
f -
f
& = £ — m
=
=
»
■
*
»
=
■
=
»
4 4 *— f
l
14
S z M - i
«
—
i- j
a
r
^ p
- - r
-
..ft
a ; a / j
r i .
•
r
>•
►♦ ♦ « ► —!•— 0 — 0 i -
—
i
■
-
* 4 =
-------- ^ J
r
:
j
:
4
c
i
---------------------------------------------
h i -------------------------
r i ------------1# --------------------■ i
=
► •• »--------- # ----------f• -— --------- £ » ---------1 jft----------■
i — ------------■ ¥ & * ■ , Ls------------ 1—^
f t -------- — — ft
a 4 ----------------------------------------
f t __ jf t ^
=
=
-----------------------------
r
-
n r - -------------------
r
=
-----------------
•
r ~ r ~pF-^= -
r
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
~
149
--— |_ :z j\ ) 'ji --— — -f---1 J : :1 i
4^
- ,f -* f. | ---------‘' ---L _ _ J — r 1 -1 -----_ ± g _ s — — -----g~ a H — — ----f— — -— + 4 ^ — —------H --+ S -P — -■ ----r g ~ ~ 'g -■ --r ^ 4 -----L j_ r— -'~ ~ li3
^pF* * H a
• —* •
~
-1 4.3— g — —t>
g = j -----i
& :----£ r — S ----1 ----S — r^ -'r*c fj[J j - iT — rr r t• T— 1
I s : §r
s=+ a — — * -a -----------— T i — . . . . . . . . . . . %— — r
'^'"P 7 *P P P . .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
150
j—
= M
'*/ > '3f t f
f1
------------ : ------------ 1
----------- iui
=
‘
r
-
^
-----------1
...... i a i * —---------- — $ ------------------ h9i-i-F ■= £ = ---------------- 1----- — ---------- h *-l-------------------- 1-------------------- hfr h s i r f P P ? 1» f ----------------
e ..
.. c .... e — . & — — ----------t = d --------- - +
^ ------------ J--------------- F ip =
i 1
tk -a
iC C E C
rJ P -e :
1
--------------------
1=
f^
,^
: - F — -------
* "
..... ~T~
---------- £ -----------S -----------“ ------------i—
:
1
:
------
-... - f ~ ... = 1 ----- J ---- ------i g ........; —
e—
i
—* ----------------------------------------
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
151
decresc.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
152
M ovem ent Four Section Two
Quarter Note =192
t i ' P i j > r U tiJ 2
m
H
.< 1 ?
1
2
1
1
j H 1
1
r
i H 1
1"
1
L
J
1
1
^
1
t
- & - - P 2
1
I
. . . ' I
r
13
f
I
|J
J
l 1
2
1
1
I
1
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
J
153
< P
i X
m
j
i
1 1
i i
i
i
i
i
tu l 1
£ 3
1
1
1
1
1
0
\*0.
1
1
$
I
l
* i
l
l
l
I
“
1
1
1
I P nr
i
1
l
i
i
i 1
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
154
m
i
1 1
i
i i
i
i
t—f I—f"
i
L—
f
p cresc.
§ 1
1
1
1
i
1
i 1
1
1 1 1
$ g
=
j
j
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
i
0-------- «------ ft =p£ ——£ --------:---- J -----------H--------- 1------- ------------------- '-------------- '-------------1 1 1 1
Q 'A
a— > f fff if m j-- 1in 1 ----------^^
s>:
y %
f f ----- f ----- 1 *------ 1 ■■■■ i i-------— ------
--------£ — --------• i g fc •» • ' ~S------ fa -----------— ---------------- 1 -----------------h*-------------1 -------- h»--------------
f 0 0 0 0-0 0
0 0 0 0
-*>;-F F F F F F------:— — »- F L—1—I ------ - 14 U
■ F Ia ----------— — 1 I I -------
l“-------- S----- ----------------- J lB = ^ ------- g-----------.t. . [A-{—— -- ■- —-------------- p-----------V ■
I
in
i?
7
m
a
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
156
* =
t t t t t I
y
r ~
*
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
T
157
M ovem ent Four Section Three Q uarter N ote = 1 9 2
m f a ------------- ---------- --------------- -------- fla --------------- * i I-- . - - --------- — ---------- !:4----------------------:--------------------b * ~ —
y t-i
mi -mM m- 4
^ =
=
1IT d *d * d « d » d---------------------------------- J J j J
* ---------------------- — ----------------------- ------------ 1-------------------------------------------------------------------------------------------------------------------------------------------------- !
l - i J . i L L l
i i.i
1j
l
n»
i
i i
I 'i
m
a -------------------
+4 -------------------
--------- ------------ ---------------- - -j 2 — -------------------------- ~ a ---------------- ------------------------ --------------------- | _ j -------------------------------= i . -
ujjjijLdddd----- + * d d.d d j
FI i
■
i
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
j j jj
~
.
■ j* m
m
—
—
------------------- i ---------------- ri- --------- ---------- 3 --------------------------
F * = iP subito y *- i J i J J J . J i
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
3 =
159 i j y
*
"
—
'A t ' j i j - j J J ------------- -j -------------- 1 J I' J J J — 1 J J I i J J J m d~m m -d-d'drm j d d d d d m d d d md ~ d d
*>: /
cresc............
1 4
----------------- — — —
— 1 I
—
—
i
I
4>1
—
5
II
5
1 1 1 — t— i— t +■ 1
I
I i
'6
'/— H I -
- = -------------------- h a — .................... I X — ll
6
i
1 1------- !- 1 1 1 11
—
cresc.............................................
- f e f —
—
-------------------1---------------- — --------------— ------------ -----------------------------^
V ' i i
4
------------- :------------ ^
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
j
..
i
160
M ovem ent Four S ection Four Lento
^
accel................................................
J 3
j
m + J .J .+
j j 9
3
1
3
r
r
' ■ T ' p ' f
1
1
3
s
3
1 3
2
2 3
3
P
3
1 3
1
1
3
2
3
3
1
1
3
1
1
—M
^
1
1
,
y
1
1
3
-
3
1
£~~~ -— f"
1
1
f
3
“ —H
------ 1
1
1
-------- :--------- =----------------------------------------------
Vivo
•
{ 1 , m iin W 3
2
1
----------- —
3
i J 3
i y
T
1
3
j
1 —
1
3
1
2
1
3
2
?
H *1
1
3
d ----------- 1 2
I
^
s
---------- ^
^ 2
2
t-m
--------------- --- --------------------=--------
—
§
2
f
^
^ 1
3
2
1
* 3
3 •»
.............
1
>
1
3
J
:
2
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
3
T 2
1
|
m r a il m olto.
A ndante
■
i --------------- i
--------------- i
-
=
:
r + y . ---------------------------------------- — --------------------
A lle g ro
rs J & . j u -------------------------------------------------------
■^
- * F
^
* ! * r .
V acceti.
P ------ ^
* -
..................................
------------m 0
f t
= ’
a
f\t „ *
\m P
71 —
-
f
-
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
/
wi *
J i* ;
162 Vivace
•*
*
J
* 1
>
f —
r ? J
r 3 t . , - f ^ : - t - 1 — t j f - W -------------i
-lT
J
i ^
i
—
L * * -----------------------------------
f = # P r f f i r ------------- r n v v
^
S
5
t*
----------- -----------------------
*
£ •H — t
H
£
f .
fi
£] ^ - --------------------— --
,
--------
~
■
- 1
1 1 r a il m oltc >.................................... 1 1 r i --- — —,
1 1 ------ -J ‘1 I
£• rs
F
#
#
mp . . .
^
t
=
--------------------------
^
* P ---------------r i “ := --------------------- --------------------------------- , ~r -------- n — I 1 1 "" ■ " — " 1— 'n 1 1 I L e n to t 1 i | “ -------------- 1 1 ................ ■ ■- ■ —. . j
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
163
r %
$
i i . n
r
________ _____________________ *-•' -— — hm * j l -------------!— • S - i - - r P
- f/ - • 1 ;---------------1• '
t
* l ' 4>
= ~
I
1
Poco Rubato
/O i 5
- f t -
l
i
,
1
l
3
i
i
i
l
i
3
3
3
i 4*1 5E£
1 1 1 1
3
3 3
3
3
* m / y
J "~ ~ 3
- T
-
p ~
»
^
;
f
j
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
1 64
Catalog o f W orks
O pus #1: 3 Impressions fo r C larinet and Percussion
Bb Clarinet; Percussion (vibraphone, 5 tem ple blocks, 2 caxixis/m aracas, snare dru m , suspended cym bal and 2 tom tom s). Composed in B razil, 1980 and is dedicated to Lucia and Edu Morelenbaum . Publisher: ECA-USP. Length: 5:30 Opus #2: Reflexos
For Solo Percussionist (vibraphone, xylophone, reco, 3 wood blocks, tarn tarn, m etal chimes, triangle, 2 suspended cymbals, 4 cow bells, 3 tom toms and bombo). Composed in W urzburg, Germany, 1980. Prem iered at the W urzburg School o f Music in 1980 by Ney Rosauro. Publisher. ECA-USP Length: 7:30 O pus #3 : Cenas Brasileiras 1 & 2
For Percussion Q uartet (m arim ba, vibraphone, xylophone and b atteria). M vt. I) Baiao, M vt. II) Frevo. Composed in W urzburg, Germany, 1980 and dedicated to the W urzburg Percussion Q uartet. Prem iered at the W urzburg School o f Music in 1981. Publisher Heinrichshofen Verlag/A lem anha. Length: 5:30
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
165 Opus #4a: Cadenza fo r Berimbau For Percussion Q uartet (berim bau solo, m arim ba/xylophone, bongos and bom bo/surdo). Composed in W urzburg, Germ any, 1981. Prem iered at the Ham m elburg Percussion Symposium , 1981 by Ney Rosauro, M ark G lentw orth, A del Shalaby and M athias Schmitt. Publisher: Pro Percussao. Length: 6:00 O pu s #4b: Cadenza fo r Baeimbau and M arim ba
Arranged in 1994. Prem iered by Ney Rosauro and Stefan Eblenkam p Publisher M anuscript/C om puter. Length: 6:00 O p u s #5a: Variations fo r 4 Tom Toms:
Consists o f 6 Variations. Composed in Brazil, 1984 and dedicated to Marco V. Donato. P ublisher Musim ed - B rasilia/D F. Length: 6:30 Qpus#5b: Sonatina fo r Snare Drum: M vt. I) A llegro, M vt. II) C antabile, M vt. Ill) Rondo Composed in Brazil, 1984 and dedicated to W ellington C. Vidal who prem iered the w ork. P ublisher Pro Percussao. Length: 4:30 O pu s #6a: Popular Suite fo r Solo Marimba:
M vt. I) Baiao, M vt. II) Xote, M vt. Ill) Caboclinho, M vt. IV ) M aracatu Composed in Brazil, 1982-1984 and dedicated to Renate Gaubatz. Prem iered at the W urzburg School o f Music in 1985 by Ney Rosauro. Publisher Music For Percussion, Inc. Length: 9:00
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
166 O pu s £6b: Popular Suite fo r Percussion Ensemble
For 6-8 Percussionists Consisting o f 4 Movements. A rranged in 1988 and prem iered by the UFSM Percussion Group. Publisher. Music For Percussion, Inc. Length: 12:00 O p u s #7a: 0 Sol F Semprp Ponm al
For Tenor Voice, M arim ba and Percussion (3 tom toms, vibraphone and glockenspiel). Arranged in 1983 (orig in ally fo r voice, piano and percussion, 1979). Prem iered at the National Theater o f Brazil in 1984 by Ney Rosauro, Dennis B. Torre and Roberto M. Castro. Publisher ECA/USP. Length: 6:00 O pu s #7b: 0 Sol E’ Sempre Pontual
For Vibraphone, M arim ba and Percussion, 1993. Publisher M anuscript/C om puter. Length: 6:00 O pu s #8: Cenas Brasileiras #3
Samba for 6 Percussionists (tam burim , maraca, chocalho, garrafa, xylophone, claves, wood block, 2 caixas, 2 m ilita ry drum s, m arimba, vibraphone, agogo’, cuica, frig id eira, cymbals, pandeiro, 2 tom toms and bom bo). Composed in Brazil, 1984 and dedicated to George Frock and The U niversity o f Texas Percussion Ensemble. Premiered in W urzburg, Germany, 1984 by the W urzburg School o f Music Percussion Ensemble, under the direction o f Professor Siegfried Fink. Publisher Southern Music. Length: 5:00
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
167 Opus #9: Sonata Lebensabschnitte For Solo Percussionist (vibraphone and m arim ba). M vt. I) Am anhecer, M vt. II) Brincadeira, M vt. Ill) Canto, M vt. IV ) Rondo’. Composed in Brazil, 1984 and dedicated to Ney Rosauro’s son G arbriel G. Rosauro. Prem iered in 1985 by Ney Rosauro a t the Duke Ellington School o f Music. Publisher Zim m erm an Verlag, Alem an ha Length: 12:00 O pus #10: A Message To A Friend
For Vibraphone, M arim ba and Saxophone. Composed in Brazil, 19831987 and dedicated to M ark Lutz. Prem iered in M ontreal,1987 by M ark Lutz and N. de Chenes. Publisher: Pro Percussao. Length: 5:00 O pus # 1 1 :3 Preludes For Solo Marimba:
M vt. I) E M in o r Composed in Brazil, 1983 (orig in ally for viola, 1976). Dedicated to Rose Braunstein and prem iered a t the National Theater o f Brazil, 1985 by Ney Rosauro. M vt. II) A M a jo r Composed in Brazil, 1986 in m em ory o f Hector V illa Lobos. M vt. Ill) C M a jo r Composed in Santa M aria, 1987-1988 and dedicated to Luiz Anunciacao. Prem iered in 1988. Publisher Southern Music, Co. Length: 14:00 O pus #12a: Concerto For M arim ba And Orchestra
M vt. I) Saudacao, M vt. II) Lam ento,) M vt. Ill) Danca, M vt. IV ) Despedida. Composed in Brazil, 1986 and dedicated to Ney Rosauro’s son Marcelo G. Rosauro. Premiered by Ney Rosauro and the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
168 Manitwoc Sym phony Orchestra under the direction o f M anuel Prestamo, 1986. Publisher: M anuscript. Length: 18:00 O pus 12b: Concerto For Marim ba And O rchestra/Piano Reduction
Premiered a t the N ational Theater o f Brazil, by Ney Rosauro and Ana Am elia Gomide, 1986. Publisher: Pro Percussao. Length: 18:00 O pus #12c: Concerto For M arim ba And Percussion Ensemble
M vt. I) Saudacao, M vt. II) Lam ento, M vt. Ill) Danca, M vt. IV ) Despedida. For M arim ba Soloist and 6 Percussionists (m arim ba, vibraphone, xylophone, glockenspiel, 5 tim pani, batteria, cow bell, triangle, pandeiro, tarn tam and cym bals). M vts. I, II and IV were prem iered in 1989 by the M eistersingerkonservatorium Percussion Ensemble under the direction o f H elm er Schwander, w ith Ney Rosauro as the Soloist. M vt. Ill was arranged in 1995 and was prem iered in M anchester, England w ith Edward Cervenka as soloist and the RNCM Percussion Ensemble under the direction o f Ian W right. Publisher: Pro Percussao. Length: 18:00 O pus #13: Cenas A m erinidia #1 and #2
For Solo Percussionist. M vt. I) Brasiliana (m arim ba, 5 tem ple blocks, 3 wood blocks and w ind chimes). M vt. II) Eldorado (vibraphone, 4 suspended cym bals, cow bell, triangle and crotales). Composed in Brazil, 1986-1987 and is dedicated to Professor Siegfried Fink. Premiered in 1988 by Ney Rosauro. Publisher: Pro Percussao. Length: 9:30
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
169 Opus #14: M itos Brasileiros For 4 Percussionists. M vt. I) C urupira, M vt. II) Iara, M vt. Ill) Saci Perere, M vt. IV ) U irap u ru ’, M vt. V ) M ula sem Cabeca (bongos, xylophone, wood chimes, thu n d er sheet, apitos de passaros, guiro, m arim ba, caixa, 3 wood blocks, flauta do lotos, 2 panelas, ocean drum , vibraphone, bombo, tarn tarn, tam bor m ilita r, m atraca, buzina, conga, apito, castanholas e coco). Composed in Santa M aria, 1988 and is dedicated to the Percussion A rt Q uartet. Prem iered in W urzburg, Germ any, 1989. P ublisher Pro Percussao. Length: 17:00 Opus # 15: Choro Bachiano
For Solo M arim ba. Composed in Santa M aria, 1989 (orig in ally for viola, 1976). Prem iered in Manchester, England by G ilm ar Goulart. Publisher Pro Percussao. Length: 5:00 Opus #16: Bem -Vindo
For Solo Vibraphone. Composed in Santa M aria, 1988-1989 and is dedicated to Ney Rosauro’s son Ricardo G. Rosauro. Prem iered by Ney Rosauro, 1989 in Rio de Janeiro. P ublisher Pro Percussao. Length: 7:30 O pus #17 a : Rhapsody For Solo Percussion And Orchestra
Solo Percussionist (vibraphone, 2 tom toms, caixa, repinique, 4 suspended cymbals, triang le, 2 cow bells, reco, castanets, 5 temple blocks, 2 wood blocks, 3 copos. Orchestra (2 flutes, 2 oboes, 2 clarinets, 2 flugel horns, 4 french horns, 2 trum pets, 2 trombones, 1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
170 tuba, strings, percussion and tim pani). Composed in Miam i, 19911992 in m em ory o f Ney Rosauro’s father Alcides C. Rosauro. Prem iered 1994, a t the In tern atio n al Percussion Festival, Opole, Polonia perform ed by Ney Rosauro and The Philharm onic Orchestra o f Opole. Publisher: M anuscript/C om puter. Length: 30:00 Opus #17b: Rhapsody For Solo Percussion And Piano Prem iered 1991, a t the U niversity o f M iam i by Ney Rosauro and Alan Mason. Publisher: Pro Percussao. Length: 30:00 O pus # 1 7 c : Rhapsody For Solo Vibraphone And Percussion Ensemble
For Solo Vibraphone, 7 Percussionists and Pianist. (m arim ba, baixo, vibraphone, xylophone, glockenspiel, 4 tim pani, batteria, thunder sheet, 2 caxixis, tarn tam , cymbals, wood block, bombo). Arranged and prem iered, 1994 by Ney Rosauro and the M eistersingerkonservatorium Percussion Ensemble in Nurnberg, Germany; under the direction o f Helm er Schwander. Publisher: M anuscript/C om puter. Length: 23:00 Onus # 1 7d: M odal Vovage
For M arim ba and Vibraphone. Arranged in Santa M aria, 1994. Prem iered, 1994 by Ney Rosauro and S. Eblenkamp. Publisher M anuscript/C om puter. Length: 8:00 O pus # 1 8 : Fred No Frevo
For M arim ba Q uartet (w ith optional percussion). Composed in M iam i, 1992 and dedicated to Fred W ickstrom.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
171 Premiered in 1992, a t the U niversity o f M iam i by M erged M arim bas. Publisher. Pro Percussao. Length: 4:30 Opus # 1 9 : Iv ito rv Retan ( la n d o f Tovl
For Mixed Choir o r M arim ba Quartet W ith O ptional Percussion. Composed in M iam i, 1993 and dedicated to the UFSM Chorale. Premiered a the Itaim b e’ Palace H otel, Santa M aria Publisher M anuscript/C om puter. Length: 4:30 Opus #20: Varicoes Sobre Urn Tema Do Rio Grande
For Solo M arim ba Consisting o f 7 Variations. Composed in Santa M aria, 1993 and dedicated to G ilm ar Goulart. Prem iered, 1993 a t the Itaim be’ Palace H otel, Santa M aria by Ney Rosauro. P ublisher Pro Percussao. Length: 8:30 Opus # 2 1 : Prelude And Blues
For Solo Vibraphone. Composed in Santa M aria, 1993 and dedicated to Renato Pereira. Prem iered: 1995 by Ney Rosauro. Publisher Pro Percussao. Length: 7:00 Opus #22: 5 Cirandas Brasileiras
For Marim ba And Vibraphone. Composed in Santa M aria, 1994 (originally fo r vibraphone and violin, 1981). Prem iered in 1994, by J. Ottinger and C.S. de Borba. Publisher Pro Percussao. Length: 8:00 Opus #23: Sonata For M arim ba
In 3 Movements. P ublisher M anuscript
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
172 Opus #24a: Concerto For Vibraphone And Orchestra
M vt. I) R ecitativo-A llegro, M vt. II) A calanto, M vt. Ill) Vivo-Presto. Orchestra (1 flu te , 1 oboe, 1 clarin et, 1 bassoon, 2 coronets, strings and percussion). Composed in Santa M aria, 1995-1996 and is dedicated to Evelyn Glennie. Publisher: Pro Percussao. Length: 18:00 Onus #24b: Concerto For Vibraphone And O rchestra/Piano Reduction Prem iered in 1996 a t the Japanese Percussion Festival, Tokyo by Ney Rosauro and M isa Nakano. Publisher: Pro Percussao. Length: 18:00
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
173
Pedagogical M aterials For Percussion
The Complete M ethod For Snare Drum 250 Technical Exercises. Composed in Brazil, 1982-1986. Publisher: Pro Percussao Studies For Tim pani 10 Studies For 2 Tim pani. Composed in 1983. Publisher: M anuscript Studies For M ultip le Percussion 10 Progressive Studies For M ultiple Percussion (bom bo, tambores, caixa and accessories). Composed in Brazil, 1984-1985. Publisher: Musimed, Brasilia, DF M ethod For M allet Instrum ents For M arim ba, Vibraphone and Xylophone. Progressive exercises for two and four m allets. Composed in B razil,1987-1990. Publisher: M anuscript TheJludim ents O f Basileia Interpretation o f m odern percussion rudim ents. W ritten in 1988. The History O f The Percussion Instrum ents A 120 Page Evaluation o f The Evolution O f Percussion. W ritten in M iam i, 1 99 0-1 99 1.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
174 Anleitung zum Spielen der Pandeiro und ihren Einsatz im M usikunterricht A Complete Method for Brazilian Pandeiro. W ritten in W urzburg, Germ any 1982 The Im portance o f The M allet Instrum ents in The General Education o f The Student Percussionist W ritten in M iam i, 1991. Factors Influencing Tim bre in Percussion Instrum ents W ritten in M iam i, 1992.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
175
Videos And Recordings
Evelyn .Glennie Video w ith The London Symphony Orchestra (RCA/PolyGram ).
Curupira Video w ith The Houston Ballet. Light In Darkness CD by Evelyn G lennie (BMG/RCA).
Marimba In Concert CD by Severin Balzer and The Kammersolisten Zurich. Rebounds CD by Evelyn G lennie and The Scottish Cham ber Orchestra (BMG).
Stick Attack CD by The Percussion A rt Q uartet Black And W hite CD by The Kostowa, Giessecke Duo (BRM). Contrasting Elements CD by The Kostowa, Giessecke Duo (BRM) Works For M arim ba CD by Rebecca Kite. M arim ba B rasileira LP by Ney Rosauro
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
176
Rapssdia CD by Ney Rosauro W orks o f Rosauro. V illa Lobos. Fernandez And Pascoal CD by Ney Rosauro and The UFSM Percussion Ensemble.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
177
A ppendix B
Instructional Video Outline
Part One: The Composer Part Two: Learning The Concerto Movement One: Section One Movem ent One: Section Two M ovem ent One: Section Three Movem ent One: Section Four Movem ent Two: Section One Movem ent Two: Section Two Movem ent Two: Section Three Movem ent Two: Section Four Movem ent Three: Section One Movem ent Three: Section Two Movem ent Three: Section Three M ovem ent Three: Section Four M ovem ent Four Section One Movem ent Four Section Two Movem ent Four: Section Three Movem ent Foun Section Four Part Three: The Culm ination
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.