Timpani

The timpani is a percussion instrument with the longest tradition. It's been used in a variety of music: ranging from music to symbolize the power of monarchs to church music. The tuning of the instrument has changed throughout it’s lifespan. First from not being able to tune them at all, to having large, awkward screws, to having an operating pedal on the bottom to change the tension of the head (Tucmandl). The way performers tune this drum has always been improved, making it easier on the performer

This is most likely the influence of the Crusades that would have brought Arabic culture, albeit in a violent way, to Europe. Timpani, as aforementioned, hold an intrinsically military tradition. Because of its use in the Turkish armies, the Europe borrowed the instrument in its armies. These influences can be seen in the earliest uses of timpani. The timpani that were taken from the Arabs were made into an essential element of prestige for the nobility. During the fifteenth and sixteenth centuries

Timpani in Haydn’s Music Franz Joseph Haydn, born March 31, 1732, is one of the most influential classical composers. Being known as the “Father of Symphony,” is an important reason to look at his work. Focusing closely on his use of timpani in two of his major pieces, “Symphony 103” and “Missa in tempore belli,” can give us an in depth look on his development with the use of timpani. By first starting at looking at his lifetime, then delving into both pieces, next comparing and contrasting the

one of the major instruments in the Janissary classification, the Timpani. In addition, the Ottoman Expansionism throughout the 1600’s gave the Western world a large amount of exposure to the Turkish military band music and instruments. Countless militarily effective instruments were carried into Western armies, such as the Cavalry Kettledrums, or Timpani. Figure 1: Mounted Trumpeters and a Kettledrummer (Persian, 1237 CE) Timpani was the first incorporated percussion instrument in Western music

Everyone has a place they go to when they need to be comforted or a place to feel safe. For some people it’s their school, house, park, or even a friend’s home. For me, my favorite place to go to is the Fine Arts Building. Every time I have ever found myself in a situation where I was greatly upset or felt unsafe I always ran to the fine arts building on UNK campus even if it meant driving half an hour. Music has always been a comforting thing and that’s what the fine arts building is all about.

Concert Report My daughter and I attend the Harrisburg Symphony Orchestra’s November Masterworks symphony conducted by Stuart Malina on November 13, 2016 at The Forum. I never attended a symphony before, so I was nervous about what we should wear and if we could find are seat. I expected the audience to be in their best clothes. The men in tuxedos with top hats on and the women in lavishing gowns with pearl necklace. My experience sure enough prove me wrong in many ways than one. The symphony started

Astrological traits of the planets but had no connections to mythology.     The first movement of the suite is Mars Bringer of War which refers to the God of War. This movement includes various instruments such as tubas, trumpets, trombones, horns, timpani, flutes, clarinets, violins, cellos, and snare drums. The movement was characterized by five beats and a minor scale which indicates the opposite of happy. There is no harmonic purpose in the Bringer of War piece, I would classify it as an inhuman

This paper will discuss the works of Susan Botti, Jennifer Higdon and Cindy McTee, three women composers of the 21st Century, and how they influenced composition with their tonal structures, melodic inventions, unique compositional techniques, along with innovations in notation, and rhythmic intricacy. I will be analyzing Concerto for Orchestra by Higdon and Echo Tempo by Botti. Singer and composer, Susan Botti, studied music at a rather young age. Her musical training officially started when she

qualities of the following pieces: Earth Dance by Bill Douglas; The Recital Snare Drum Suite by William J. Schinstine and Four Pieces for Timpani by John Bergamo as a medium to do so. Rhythm is everywhere. Its exists in nature, in traffic,

of the young artist. After an “orchestral outburst, the idée fixe returns with the English horn again calling out, but there is no response from the oboe, instead, the “shepherd” is answered by the rumbling of thunder, musically illustrated by the timpani, which plays unusual minor chords. The first theme of the fourth movement is entitled March un supplice or “March to the Scaffold,” which Macdonald describes as “alternatively sinister and brazen.” This movement appears in rondo form. The first theme