A view of the Western percussion art through the perspective of its notated musical repertoire
This dissertation articulates a history of percussion playing in the western practice identifying two pivotal moments: the 1930s, when the art is formatted; and the 1950s, when it is housed inside of the higher education institution. Through the prism of notated repertoire for percussion, I discuss relevant issues relating to the field including the institutionalization process and its consequences for the idea of percussion, the role of the Percussive Arts Society, the concept of total percussion, and the contemporary marimba repertoire. I conclude by giving a panoramic assessment of the field, identifying a polarization of aesthetic concerns asserted through the repertoire of different lineages of percussion playing.
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