Professional Documents
Culture Documents
Carlos Chávez
Carlos Chávez
Carlos Chávez
A 8 ii
DISSERTATION
By
Timothy J. Peterman, M. M.
Denton, Texas
August, 1986
M
the literature composed for this medium has not become part of
both from his native Mexico, and from other composers writing
111
TABLE OF CONTENTS
Page
FIRST DISSERTATION RECITAL ... V
TABLE OF FIGURES X
Chapter
I. INTRODUCTION 1
PERFORMANCE 47
VII. CONCLUSIONS 64
APPENDIX 66
BIBLIOGRAPHY 68
DISCOGRAPHY 71
IV
Vbices £55=' JXT
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Cha•nge CX
GINASTERA GALA
Caruth Auditorium
S:f 5
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^'5 ;<*V
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Jo B o a t r i g h t piano
Ronald Meal violin
C h r i s t i n e Schadeberg 7 : 1 5 p.m. Discussion
soprano
Nancy Todd violin
C r a i g Weaver The Music of Alberto Ginastera:
cello Cultural Roots arid Compositional Style
Mary Woehr viola
NTSU PERCUSS ION ENSEMBLE Dr. Malena Kuss,
Assistant Professor of Music, NTSU
Neil Rutland, Sob Wilkinson timpani
Genaro Gonzalez, Robert Adaimcik casse
Craig Collison tamburi di legno
Brad Dutz piatti 8 : 1 5 p.m. Concert
Hark Johnson tan tan
Randy Drake, Dan Gelper and
Paul Durapau batteria STRING QUARTET NO. 3, opus 40
Michael Carney xilofono (with soprano voice)
Tin Peterman marimba
Keith Slisher glockenspiel Contemplativo
Ron Brough celeste Fantastico
Amoroso
assisted by:
Draimatico
Jo Boatright and Gary Okeson piano Di nuovo Contemplative
rehearsed by:
Dr. Robert Schietroma, Coordinator, NTSU Percussion Dept. PAMPEANA NO. 2, opus 21 1950
This evening's conductor: Rhapsody for cello and piano
Hillian Kraft, Director of Los Angeles Percussion Ensemble
INTERMISSION-
This series of concerts is made possible in part by grants
from the Paul Foundation Chamber Music Residency Program,
administered by Chamber Music America» and the City Arts CANTATA PARA AMERICA MAGICA 1960
Program, Park and Recreation Department, City of Dallas, for soprano and percussion ensemble
and the National Endowment for the Arts in Washington, Prelude and Song of Dawn
D.C., a Federal agency* Co-sponsors for the residency Nocturne and Love Song
are the Division of Music, Meadows School of the Arts, Song for the Warriors' Departure
Southern Methodist University, and Radio Station KERA-FM, Fantastic Interlude
National Public Radio for North Texas. Song of Agony and Desolation
Song of Prophecy
DMA Recital
Timothy J. Peterman, Percussion
Assisted by:
Ron Brough—Marimba
Mike Casey—Trumpet
Peggy Heinkel—Euphonium
Thomas Whitaker—Harpsichord
VI
North Texas State University
School of Music
presents
Graduate Recital
Assisted by:
VI 1
North Texas State University
School of Music
Graduate Recital
Assisted by:
Presented in p a r t i a l f u l f i l l m e n t of the
requirements for the degree of
Doctor of Musical Arts
VI 1 1
North Texas State University
School of Music
ix
TABLE OF FIGURES
Figure Page
3. Water Gourd 57
9. Metal Rattle 60
Example Page
XI
CHAPTER I
INTRODUCTION
mately the last sixty years that Western composers have written
both from his native Mexico and from other composers writing
percussion ensembles.
CHAPTER II
native Mexico.
there may have been some Indian blood on the maternal side of
4
the family.1 His mother directed the Normal School for Young
Women but was ordered to leave Mexico City when the Revolution
of Mexican music."3
with his brother Manuel, and then with the noted Mexican
and teacher Pedro Luis 0gaz6n whom Chavez would later credit
Aztec culture.^
(The New Fire). Although Chavez did not quote a single Indian
dramatically powerful.®
wife, Otilia, went to Europe for six months. Chavez used this
general public.
International Composers G u i l d . ^
the late 1920's, Varise believed that the Guild had accom-
terminated.15
17. Ibid.
11
different relative pitches, but are also used more for timbre.
Mexico.25
assorted sizes of torn toms and bass drums. Snare drums and
believed that rhythm was one musical factor that measured and
Cowell in 1932 and studied Oriental music with him at the New
30. Ibid.
18
of Cage during the late 1930's and early 1940's were First
rattles, two small Indian drums, and a large and extra large
dated April 24, 1980, Cage wrote, "He [Chavez] used conven-
written, grateful that he did it, and have always been sad that
20
21
Michael Rosen believed that the first performance was with the
O y
Cincinnati Symphony Orchestra under Thor Johnson. But Chavez
Company.
instruments:
followed by the Indian drum, snare drum, tenor drum, and the
"TTmAMJ#
of drums.
first and third movement are in sonata form, and the second
not exist. However, the first and second themes are comprised
24
percussion, such as the torn toms, snare drum, and Indian drum,
snare drums and the Indian drum produce the shorter, more crisp
and bass drum ring and produce longer, more mellow sounds. The
the drums are muffled with a cloth placed on the head, termed
"coperto."
Indian
Drum
1 T 1
p ' P
i
Side Omm I 'A
I
>
H*
Side Drum II 5 ? fr 7 — h - •r, 7
Timpani
m i l
Bass Drum
}
r y * v ?
Indian Drum
=p
Side Orum I
Side Orum II
3a and 3b).
> y ? ?
Timpani
Timpani
27
Timpani
Timpani
130.
Indian
c:::
Drum
' T
\) M
•
Side Drum I
Tenor Drum
s • ^ r
tV 1
Indian Drum
iff Sen za. dun
COttftP
Side Drum I
Senm dti*.
uuEstia
Side Drum II
csesssi
Tenor Drum
scraa a**
Timpani
Bass Drum
29
into the second movement through the use of rolls in the snare
drum). Both the bells and the xylophone are used melodically,
Right Hand
h n0 V
Glockenspiel ?
Left Hand
si n
Glockenspiel
Xylophone
Suspended Cymbal
[Ail -U u* U Li
Chimes
Small Gong
a u u U
Large Gong
31
:J n % T
Glockenspiel
J 4 "
T) i_ I
Xylophone
v l j j
J '' ' J ^ * m On
The third movement uses mostly the membrane sounds, but
the cymbal.
Tfmpani j
i ) I J j J i f t j j f y ^
32
produced between the small Indian drum, and the three drums
11a).
r
Small Indian Drum
j/l— " j r / r. 1
-iTl 1 f
Indian Drum 8= y \
Snare Drum
Tenor Drum M "
> o >
1
Claves
' 1 f ' f f f M rf
?
r
J
^ 'y_ *
Timpani
r M
Maracas
Timpani
cymbal is used for the first time and complements the impetus
to the recapitulation.
Indian Drum
Snare Drum
Tenor Drun ptiL.tr IJP 0
>
Timpani
TbJPj Pj £ J U .J
in augmentation.
exchange between Clare Booth Luce and Carlos Chctvez. Mrs. Luce
11, 1965, at the Los Angeles County Museum of Art, by the Los
place June 14, 1968, in Mexico City. This concert crowned the
Olympic games, and closed the final concert in the Sala Manuel
Ibid., 63.
35
36
sion. Although the Swiss Brass Bells are not native to Mexico,
and membrane.
Standard bass and treble clefs are used for the pitched
M « M « CUKWMt*.
HIGHER
LOWER
METAL WOOD
in a particular section.
short sounds of the wood. Near the end of the movement the
metal. The only sound that is carried over from the first
accompaniment.
1. 1 - 17 1. 21 - 38 T T 41 - 61
2. 2. 2.
3. 3. 3. 42
4. Scrapes/Rattles 4. Add Metal Rattle 4. Add Sand Blocks
5. Sparse 5. Less Sparse 5. Moving
6. Disjunct IVN 6. (71 m tm 6.
7. FF 7. P- F 7. F, FF
8. Imitates white . ^ 8 - 2 0 8. Moves to transition! 8.
noise <^"Deletion of ^ 19-40
-^v^nstruments^ Louder/Fast§
7. mf 7. p-mp
8. Transition to 8. add water gourds 8. tempo change
soft rattles
rattle
3. - 1. Measure Number
4. add tap-a-tap 2. Melodic Traits
5. thick 3. Harmonic Traits
6. 4. Timbral Traits
7. ff 5. Texture/Orchestration
8. end of movement 6. Predominant Rhythms
7. Dynamics
8. Other
KEY
1. Measure Number
2. Melodic T r a i t s
3. Harmonic T r a i t s
4. Tirabral T r a i t s
5. Texture/Orchestration
6. Predominant Rhythms
7. Dynamics
8. Other
5. short bursts 3. •
own percussion battery. This not only adds texture, but also
the movement is very abrupt and leaves the listener with the
use one instrument and one music stand for each performer.
percussionist may use several music stands, and will move from
47
48
mance are more complex than for any other musical ensembleJ
music program.
reflexes.
write, for example, the ensemble being forte, and not take
sticking for their own music, but also of one that will fit
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52
may result.
parts at will on the score and parts, and publishers may even
solution.
CHAPTER VI
one required and hope that the sound will satisfy the musical
54
55
sionist Michael Rosen suggests that the two drums are small
used on all the other drums, and 3) heads made from plastic
white pine for all except the top plate, which was constructed
the shell of the gourd, a saber saw was used to cut it.
3. The gourds were obtained from the Pumpkin Farm and Gourd
Place, 101 Creston Road, Paso Robles, California, 93446.
58
was achieved.
heads of animal skin, four small concert torn toms were substi-
drums would remain constant with the rest of the ensemble and
sizes and types given by C h a v e z — 4 & 1/2" x 14" snare drum, 8"
x 15" snare drum, and a 12" x 16" tenor drum). The composer
low between the three drums. The suspended cymbal, wood block,
and the three drums are the only instruments easily obtained by
seventeen inches long, one and one-half inches wide, and three-
form a twelve-inch cube. The sides and bottom were made from
59
one-inch thick white pine. The top was made from oak. A slit
two and one-half inches wide was cut in one of the vertical
diameter, the gourd was struck with a mallet wrapped with yarn
so that the open end of the bell was facing the floor. This
the composer, but the proper range was not available. They
constructed. The rattle was cut from a piece of oak one and
hollowed to make room for four rows of jingles, each with two
drums—suggested sizes and types: 8" x 12" torn torn, 18" x 20"
61
torn torn, and a 11" x 30" conga drum. These drums were be
resonators.
The ratchet and the tap-a-tap are the only two instru-
Figure 10).
16" x 36".
conductor.
CHAPTER VII
CONCLUSIONS
what is composed for this medium has not stood the test of time
from that of the other composers for the same medium. Compos-
64
65
66
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68
69
Sachs, Curt. Rhythm and Tempo. New York: W.W. Norton and Co..
1953.
71