preting music.

Some music is essentially joyful, like Ludwig van Beetho-

vens Ode to Joy in Symphony No. 9. Other music is fundamentally sad
or forlorn as we encounter in the nal movement of Tchaikovskys Sym-
phony No. 6, the Pathtique. Timpanists are called to marry their inter-
pretation of the music to tone-technique so that the timpanists part can be
played with sensitivity, meaning, and conviction.
This book will be divided into four chapters. The rst will discuss the
theory of tone color production. It will examine the nature of tone color and
the techniques that can be employed to create the color appropriate to the
musical passage. The second chapter will examine approaches to interpret-
ing and creating musical emotion. The third and nal chapters will explore
the interpretation of Baroque and Classical timpani parts, respectively. In
these chapters, the author will explore how period style; the evolution of
timpani, mallets, and drumheads; the timpanists playing style; and the ap-
plication of articulation and tone-techniques to the standard repertoire can
be used in effectively conveying the meaning of the music.
I would like to acknowledge the contributions that my spouse, teach-
ers, friends, and students have made to this book. I thank my spouse,
Denise Elmore Schweizer (MMM in Organ Performance, Indiana Univer-
sity), for her insights into interpreting J. S. Bach and for her willingness to
share her summers with this book. For research support, I am particularly
appreciative of Larry Ellis (Director), Sandy Smith, and Cathy Snediker of
the Newberry College Library; Joe Henderson, percussionist and Director
of Circulation at the University of South Carolina Music Library; and Di-
rector Alexa Bartel and staff at the Coker College Library-Information
Technology Center. All have been helpful in gaining access to manuscripts,
articles, and books used in this text. I thank Sally Beggs, Associate Profes-
sor of Music at Newberry College, for advice regarding Bachs performance
practice issues. I appreciate Warren Moores (Ph.D. and percussionist) re-
view and critique of an earlier draft of this manuscript. He provided in-
sightful comments on content and style. I thank John Tafoya (Professor of
Percussion and Chair of the Department of Percussion, Indiana Univer-
sity) for his comments on an earlier draft of this manuscript and his en-
couragement to complete the project. I also thank the anonymous readers
at Oxford University Press for their comments and constructive criticism,
which strengthened the text and encouraged my efforts to bring my
thoughts to a wider audience. I am particularly indebted to the staff at Ox-
ford University Press, Music Books. Norman Hirschy, associate editor, was
helpful in the early stages of manuscript evaluation and provided guidance
on the companion Web site. I owe a debt of gratitude to him and his staff.
I thank Suzanne Ryan, senior editor, for helping me fulll my dream of
making this book available to a wider audience than is possible through
my studio and classroom. Madelyn Sutton, editorial assistant, provided
professional, thoughtful, and timely advice on negotiating the manuscript
preparation, submission, and publication process. I extend my grateful ap-
preciation to her. To Gwen Colvin, production editor, and Julianne Erik-
sen, copyeditor, I express my deep appreciation for the professional man-

viii Preface