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Shepherd, Scott Lawrence. [Publisher not identified], [Place of publication not identified] [Published date: 1977]. Hardcover, 136 pp; illustrated with musical notation examples; 29 cm. Thesis (M.A. in Music) University of California, Los Angeles, 1977. Inscribed (personalized) and signed by Shepherd on the front paste down. Very good condition; no dust jacket. Blue cloth covered boards have light bumping to edges and light overall scuffing. Binding tight. Pages clean and unmarked. [From Abstract] The present notational scene for percussion is characterized by two sets of practices: 1) innovative approaches in post-1950 works; and 2) pre-existing common-practice techniques. The co-existence of both sets as a contemporary continuum of notational directions poses a formidable challenge to the percussionist, composer, and music educator. In addressing the problem, this study adopts the following threefold purpose and methodology: 1) To provide a cross-sectional view of common-practice approaches through a review of orchestration texts, percussion methods, and other related literature; 2) To discuss general post-1950 trends and their impact on percussion notation through a review of contemporary articles and texts; and 3) To illustrate innovative approaches to percussion notation as reflected in selected post-1950 chamber works by means of a notational analysis. In light of the research findings, the following conclusions can be stated: 1) A lack of consensus regarding common-practice percussion notation is long-standing; 2) Familiarity with the many different approaches to common-practice notational problems would appear to be prerequisite to effective performance of traditional literature; 3) Clear definition and explanation by composers of specific devices employed in novel notational designs would appear to be vital to effective performance of contemporary literature; 4) Although some degree of notational standardization can often ease the performer's task, any all-encompassing system imposes creative restrictions on the composer's search for innovative means of expression; 5) The determinate or indeterminate nature of a work can vary the performer's role from strict interpreter to co-creator; and 6) There presently exists a broad continuum of notational approaches that demands flexibility on the part of the contemporary percussionist. [Contents] Acknowledgements; Abstract of the Thesis; Introduction (Need for the Study, Purpose, Methodology, Limitations); Chapter 1: Common-Practice Approaches (Clef Usage, Noteheads, Durational Indications, Roll Notation, Mallet Transpositions); Chapter 2: Post-1950 Trends and Their Impact on Percussion Notation (Determinacy, Indeterminacy, Auxiliary Notation, Pictographs); Chapter 3: Analysis of Selected Chamber Works; Chapter 4: Conclusions and Suggestions for Further Study; Selected Bibliography; Additional Readings.
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