Hairy drums, live sampling: Ethos Percussion Group commissions of 2004 and their "extra-conservatory" elements
Item
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Title
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Hairy drums, live sampling: Ethos Percussion Group commissions of 2004 and their "extra-conservatory" elements
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Identifier
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d_2009_2013:c5dfa372e77a:11163
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identifier
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11555
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Creator
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Files, Frederick Rimes, III,
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Contributor
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Shaugn O'Donnell | Jonathan Pieslak
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Date
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2012
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music | Ableton | Argentina | Djembe | Ethos Percussion | Gaby Kerpel | Michael Markus
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Abstract
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Since 1999 Ethos Percussion Group has commissioned more than two dozen works for percussion quartet. The majority of these commissions incorporate instruments and musical vocabulary not commonly found in the Western chamber music tradition. This aspect of Ethos's commissioned repertoire reflects the ensemble's collective personality, as its members have augmented their conservatory training and "classical" performing experiences with extensive forays into popular and non-Western idioms.;Gaby Kerpel's Charangueando and Michael Markus's Suli Ti Nani, the two compositions commissioned and premiered by Ethos in 2004, exemplify the ensemble's efforts to integrate its members' experiences with popular and folk music into a chamber music setting. The pieces incorporate a variety of "extra-conservatory" elements, including hand drumming, folk instruments from Argentina and Guinea, improvisation, ethnic rhythmic concepts, and electronic sampling via a laptop and MIDI controller. The extra-conservatory nature of these compositions extends to the manner in which Kerpel and Markus presented them to Ethos, as they relied heavily on sample recordings or rote transmission. Although these methods were supplemented with limited notation, neither composer produced a traditional score.;Many of Ethos's commissions have been published and are often performed by collegiate ensembles. However, the lack of scores for Charangueando and Suli Ti Nani, coupled with a general unfamiliarity with many of the instruments and techniques necessary for their performance, has rendered them inaccessible to other performers. This unfortunate situation has troubled me for years, as the works' musical and pedagogic merits certainly justify inclusion in the percussion ensemble canon.;The purpose of this dissertation is to facilitate and promote the performance of Charangueando and Suli Ti Nani by ensembles other than Ethos. The written portion includes scores for each piece, biographical information on the composers, descriptions of how the scores were developed, and examinations of analytical and performance issues designed to help classically-trained performers address the extra-conservatory elements found in each piece. This text is accompanied by a data disc containing a variety of supplemental media that may also be found on the following web pages: http://www.treyfiles.com/charangueando.html and http://www.treyfiles.com/sulitinani.html.
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Type
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dissertation
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Source
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2009_2013.csv
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degree
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D.M.A.
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Program
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Music
