ANANALYSISOFBEGINNINGTO INTERMEDIATEPERCUSSIONMETHODS USEDINSELECTEDPUBLICSCHOOLSAND THEIRRELATIONSHIPTOTHEPERFORMANCE REQUIREMENTSOFSTATEAPPROVEDBANDLITERATURE By JAMESKENTACKMAN ADISSERTATIONPRESENTEDTOTHEGRADUATESCHOOL OFTHEUNIVERSITYOFFLORIDAINPARTIALFULFILLMENT OFTHEREQUIREMENTSFORTHEDEGREEOF DOCTOROFPHILOSOPHY UNIVERSITYOFFLORIDA 1998 ACKNOWLEDGMENTS Thecompletionofadissertationismerelythelastprojectinasequenceofevents leadingtoadoctoratedegree, Anendeavorofthismagnitudewouldnothavebeen possiblewithoutthesupportandsacrificeofmyfamilyandfriends. Assuch,Iwouldlike totakethisopportunitytoacknowledgethepeoplewhohaveguidedmethroughthis long,sometimesarduous,andultimatelyrewardingprocess. Firstandforemost,Iwishtothankmymotherforherunwaveringbeliefinme. Sheprovidedmoralandemotionalsupportthroughtheentireprocessandalways understoodhowmuchthepursuitofadoctorateinmusiceducationmeanttome. Her understandinganddeepcompassionarepricelessgifts. Mywife,Jan,alongwithmydaughter,Katie,whohadtospendalotoftime growingupwhileIwaspursuingmydream,deserveaveryspecialplaceinmy acknowledgments. Theyhadtosacrificethemostofallthosewhohelpedmereach mygoal,andwerealsotheinspirationthatallowedmetohandlethedifficulttimesalong theway. I wishtoextendmywarmestthankstoDr.CharlesHoffer,mycommitteechair. Heguidedmethroughthewholeprocessandhadamoreprofoundinfluenceonmeasa personandastudentthanhewilleverknow. Althoughhetaughtmemanythingsabout musicandeducation,themostimportantthingsIlearnedduringthepursuitofthisdegree hadnothingtodowithmusic,andforthishehasearnedmydeepestgratitude. Iconsider himafriendaswellasamentor. AnothermajorinfluenceduringmytimeattheUniversityofFloridawasDr.David Kushner. Hisimpeccablyhighacademicstandardsandattentiontodetail,alongwithhis graspoftheimportanceofeventswithinthelargerschemeofthings,providedtheimpetus formetobecomeamorediscerningscholar. Hisgenuinewarmthandhumorwerealso greatlyappreciated. IalsowishtoacknowledgeDr.PhyllisDorman,Dr.JamesSain,andDr.Art Newman. Theywereallthoroughlyprofessionalandpersonable,andhadanenormously positiveinfluenceonmyeducationalandmusicalgrowth. Inaddition,Iwishtothankmy twoclosestfriendsinGainesville,VikkiTruesdailandPaulBarrett,whohelpedme throughsomeverydifficulttimesandaskednothinginreturnsavefriendship. Iamindeed fortunatetohavetwosuchcaringandcompassionatefriends. Mylastacknowledgmentsareperhapsthemostimportantones. Theygotomy grandmotherandthememoryofmygrandfather. Alongwithmymotherandmybrother, Jon,theytaughtmetheessentialimportanceofhardwork,dedication,andfinishinga project,regardlessoftheobstacles. TheirinfluenceissomethingIwillalwayscarrywith me. Thisdissertationisdedicatedtotheirspirit,compassion,andsimplehumandignity. in TABLEOFCONTENTS ACKNOWLEDGMENTS ii ABSTRACT vi CHAPTERS OVERVIEW 1 1 2 SURVEYOFRELATED LITERATURE 12 METHODOLOGY 41 Research Design 42 ParametersofStudy 44 4 RESULTS 53 RegionalResultsofSurvey 54 CurrentBandMethodsUsedinPublicMiddleSchools 55 AnalysisofPercussionBooksfromBandMethods 57 SummaryofMethodBooks 94 5 CONTENTANALYSESOFBANDLITERATURE 107 6 SUMMARY,CONCLUSIONS,ANDRECOMMENDATIONS..119 . Summary 119 Conclusions 121 RecommendationsforImprovement 124 RecommendationsforFurtherResearch 127 IV BIBLIOGRAPHY 129 APPENDICES A FORMLETTER 140 B PERCUSSIONREQUIREMENTSOFSELECTED BANDLITERATURE 142 BIOGRAPHICALSKETCH 153 AbstractofDissertationPresentedtotheGraduateSchool oftheUniversityofFloridainPartialFulfillmentofthe RequirementsfortheDegreeofDoctorofPhilosophy ANANALYSISOFBEGINNINGTO INTERMEDIATEPERCUSSIONMETHODS USEDINSELECTEDPUBLICSCHOOLSAND THEIRRELATIONSHIPTOTHEPERFORMANCE REQUIREMENTSOFSTATEAPPROVEDBANDLITERATURE By JAMESKENTACKMAN August1998 Chairman:CharlesR.Hoffer MajorDepartment:Music Thepurposeofthisstudyistoexaminetherelationshipbetweenbeginningto intermediatepercussionbooksfromcontemporarybandmethodsandtheperformance requirementsoflevels III-VIbandliteraturetypicallyprogrammedbyhighschool ensemblesinconcert,contest,andfestivalsituations. Contemporarybandcomposershavewrittenwithincreasingfrequencyandfluency forpercussioninstruments. Inturn,thishasleadtoademandformorecomprehensively trainedstudentpercussionists. Forthisreason,thereisaneedforanexaminationof whethertheskillsstudentpercussionistsaretaughtinelementaryandmiddleschool percussionclassesarewhattheyactuallyneedtoknowinordertosuccessfullyperform levelsUJ-Vlbandliterature. Amajorissueinvolvingcontemporarybanddirectorsandinstrumentalmusic teachersintheareaofpercussioninstructionisspecialization. Thisisasituationinwhich vi astudentlearnstoperformonaparticularpercussioninstrument,suchassnaredrum,and remainsonthatinstrumentthroughouthisorherpublicschoolperformingcareer. This studyexaminestheextenttowhichspecializationinfluencesthecontentofpercussion methodbooksaswellastheperformancerequirementsoflevelsIII-VIbandliterature. Thesampleofpercussionbooksfrombandmethodswastakenfromtheresults ofasurveyof150middleschoolbanddirectorsinthreeseparategeographiclocationsin theUnitedSates,50eachinFlorida,Illinois,andMassachusetts. Schoolsforthesurveywererandomlyselectedfromtheweb-siteoftheAmerican SchoolDirectory. Methodbookswereexaminedforpresentationofskills,concepts,and instruments. Thereasonforthiswastoprovideabasisforexaminationoftheefficacyof themethodbooksinpreparingelementaryandmiddleschoolpercussioniststosuccessfully performtypicalhighschoolbandmusicliterature. Contentanalyseswereperformedonthefourmethodbookseriesmostfrequently citedinthesurveyasbeingincurrentuseinmiddleschoolinstrumentalmusicprograms. Thesemethodbookserieswereexaminedforsequenceofskills,concepts,and instrumentspresentedintheirtexts,aswellastheirmusicalandeducationalscope. Inordertoexaminetheextentoftherelationshipbetweenelementaryto intermediatepercussionmethodbooksandperformancepractices,100intermediateto advancedbandworkswereanalyzedfornumberofpercussionplayersandinstruments required,aswellaspercussiontechniquerequirements.Workswererandomlyselected fromtheapprovedconcertbandliteraturelistoftheNewYorkStateSchoolAssociation Thefinalportionofthestudyisdevotedtoadiscussionofconclusionsfromthe surveyandcontentanalysesofmethodbookseriesandbandliterature. Inaddition, recommendationsaremadeforimprovingthemusicalandeducationalcontentof percussionmethodbooks,aswellasfacilitatingthetrainingoffuturemusiceducatorsin undergraduatepercussionskillsclasses. vii CHAPTER 1 OVERVIEW Percussioninstalmentshavebeenapartofmusicalculturesincethedawnof civilization. Fromprehistoriclogdrumstocontemporaryelectronicdrum-machines,there hasbeensignificantinterestintheperformanceandeducationalareasofthisparticular family. IntheimmediateaftermathofWorldWarII,thetrendinpublicschoolswas toprogrammusicforconcertsfeaturingworksofcontemporarybandcomposersin additiontostandardmarchesandtranscriptionsoforchestralworks. Thesecomposers weretrainedinthe20thcenturystyleofcomposition,whichinvolvedinclusionofthe percussionsectionaspartofthemainfabricofthemusic.1 Thiswasadramatic departurefrompercussion'straditionalroleofaccompanisttotheband. Duringthesecondhalfofthe20thcentury,oftenreferredtoasthe"goldenage ofpercussion,"bandandorchestracomposershavewrittenwithincreasingfrequency andfluencyforpercussion,exploringtheirmusicalandcolorpotential.2 Inthe1980s,percussionenteredthearenaoftechnologywiththedevelopment ofelectronicpercussioninstruments. Today,usingMIDI(musicalinstrumentdigital interface)andotheradvancedcapabilities,percussionistsandcomposershaveattheir disposalanalmostinfiniterangeofsoundsandtimbres.3 1HaroldF Abeles,CharlesR.Hoffer,andRobertH.Klotman.FoundationsofMusic Education(SecondEdition).SchirmerBooks,NewYork,1973.page284. 2GaryCook.TeachingPercussion.SchirmerBooks,NewYork,1988.page9. 1 . 2 Thepracticalimplicationsofthisphilosophyofcompositionwithregardto percussionperformancerequirementsaretwofold. 1.)Thenumberofpercussion instrumentsemployedincontemporarybandliteraturehasbeenexpandedtoinclude ethnicandworldpercussioninstrumentssuchasmarimbasandLatinpercussion. 2.) Percussion partscontainedincontemporaryliteraturehavebecomemoresophisticated anddemanding4 NeedforComprehensivePercussionInstruction Alongwiththisincreasedemphasisuponpercussionwritinghascomeademand forcomprehensivelytrainedpercussionists,musicianswhocanperformcompetentlyon avastarrayofinstruments: pitchedandnon-pitched,melodicandrhythmic.5 Contemporarypercussionistsmustdevelopdiverseskillsinordertomeetthe performancedemandsofmodernbandliterature. Itisadifficultdilemmaforthe contemporarybanddirector:whethertoprogramapiececontainingacrucialmallet partthatnoneofthepercussionistscanplay,oruseamusicianfromanothersection toperformthepart.6 WiththeimplementationoftheNationalStandardsformusiceducation,there hasbeenawidespreaduseofpercussioninstrumentsforclassroominstruction. The 3SteveWilkes.'WelcometoPlanetElectronicDrum."PercussiveNotes,35:57-8n6 1997. 4Ibid. 5Cook,page3 6DonaldGilbert."ChangingConceptsinPercussion."TheInstrumentalist,23:64-5nlO 1969. 3 Orff-Schulwerkmethod,amongothersfeaturespercussioninstrumentsasthebasisof musicalinstruction. Percussioneducationisappropriateforstandardnumber2,regarding thestudent'sabilitytoplayaloneandwithothers,awidevarietyofinstruments.7 Thisquandaryfacingmodernpercussionistsandmusiceducatorsisrecognized byRichardColwellandThomasGoolsby(1992)inTheTeachingofInstrumentalMusk. Theirsummaryoftheproblemisfoundinthefollowingquote: Inspiteoftheirancientage,thepercussioninstrumentshave notbeenquiterespectableuntilrecently. Theyhavehadno literatureoftheirown,nogoodtextsormethodbooks, andnosystematicapproachforlearningthenecessary techniques.8 Theperceptionofpercussionistsasmusiciansisdiametricallyopposedtotheir traditionalreputationasmeretime-keepers,whichhasprimevalroots. Theperception oftheroledualityofpercussionistsalsoprovidesanequitablestartingpointforthe examinationofcontemporarypercussioneducation.9 RobertBuggert(1956)mentionshisbeliefthatinstructionforpercussion instrumentsisbyitsnaturedifferentthaninstructionforwoodwindandbrass instruments. Heattributesthistobrassandwoodwindplayersreceivinginstructionin 7NationalStandardsfortheArts(Music).MusicEducatorsNationalConference Reston,VA,1996. 8RichardColwellandThomasGoolsby.TheTeachingofInstrumentalMusic. (SecondEdition).Prentice-Hall,EnglewoodCliffs,NJ,1992.page323. 9Cook,page3.

Analysis of beginning to intermediate percussion methods used in selected public schools and PDF

162 Pages

2013

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English

by Ackman, James Kent

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Preview Analysis of beginning to intermediate percussion methods used in selected public schools and

ANANALYSISOFBEGINNINGTO INTERMEDIATEPERCUSSIONMETHODS USEDINSELECTEDPUBLICSCHOOLSAND THEIRRELATIONSHIPTOTHEPERFORMANCE REQUIREMENTSOFSTATEAPPROVEDBANDLITERATURE By JAMESKENTACKMAN ADISSERTATIONPRESENTEDTOTHEGRADUATESCHOOL OFTHEUNIVERSITYOFFLORIDAINPARTIALFULFILLMENT OFTHEREQUIREMENTSFORTHEDEGREEOF DOCTOROFPHILOSOPHY UNIVERSITYOFFLORIDA 1998 ACKNOWLEDGMENTS Thecompletionofadissertationismerelythelastprojectinasequenceofevents leadingtoadoctoratedegree, Anendeavorofthismagnitudewouldnothavebeen possiblewithoutthesupportandsacrificeofmyfamilyandfriends. Assuch,Iwouldlike totakethisopportunitytoacknowledgethepeoplewhohaveguidedmethroughthis long,sometimesarduous,andultimatelyrewardingprocess. Firstandforemost,Iwishtothankmymotherforherunwaveringbeliefinme. Sheprovidedmoralandemotionalsupportthroughtheentireprocessandalways understoodhowmuchthepursuitofadoctorateinmusiceducationmeanttome. Her understandinganddeepcompassionarepricelessgifts. Mywife,Jan,alongwithmydaughter,Katie,whohadtospendalotoftime growingupwhileIwaspursuingmydream,deserveaveryspecialplaceinmy acknowledgments. Theyhadtosacrificethemostofallthosewhohelpedmereach mygoal,andwerealsotheinspirationthatallowedmetohandlethedifficulttimesalong theway. I wishtoextendmywarmestthankstoDr.CharlesHoffer,mycommitteechair. Heguidedmethroughthewholeprocessandhadamoreprofoundinfluenceonmeasa personandastudentthanhewilleverknow. Althoughhetaughtmemanythingsabout musicandeducation,themostimportantthingsIlearnedduringthepursuitofthisdegree hadnothingtodowithmusic,andforthishehasearnedmydeepestgratitude. Iconsider himafriendaswellasamentor. AnothermajorinfluenceduringmytimeattheUniversityofFloridawasDr.David Kushner. Hisimpeccablyhighacademicstandardsandattentiontodetail,alongwithhis graspoftheimportanceofeventswithinthelargerschemeofthings,providedtheimpetus formetobecomeamorediscerningscholar. Hisgenuinewarmthandhumorwerealso greatlyappreciated. IalsowishtoacknowledgeDr.PhyllisDorman,Dr.JamesSain,andDr.Art Newman. Theywereallthoroughlyprofessionalandpersonable,andhadanenormously positiveinfluenceonmyeducationalandmusicalgrowth. Inaddition,Iwishtothankmy twoclosestfriendsinGainesville,VikkiTruesdailandPaulBarrett,whohelpedme throughsomeverydifficulttimesandaskednothinginreturnsavefriendship. Iamindeed fortunatetohavetwosuchcaringandcompassionatefriends. Mylastacknowledgmentsareperhapsthemostimportantones. Theygotomy grandmotherandthememoryofmygrandfather. Alongwithmymotherandmybrother, Jon,theytaughtmetheessentialimportanceofhardwork,dedication,andfinishinga project,regardlessoftheobstacles. TheirinfluenceissomethingIwillalwayscarrywith me. Thisdissertationisdedicatedtotheirspirit,compassion,andsimplehumandignity. in TABLEOFCONTENTS ACKNOWLEDGMENTS ii ABSTRACT vi CHAPTERS OVERVIEW 1 1 2 SURVEYOFRELATED LITERATURE 12 METHODOLOGY 41 Research Design 42 ParametersofStudy 44 4 RESULTS 53 RegionalResultsofSurvey 54 CurrentBandMethodsUsedinPublicMiddleSchools 55 AnalysisofPercussionBooksfromBandMethods 57 SummaryofMethodBooks 94 5 CONTENTANALYSESOFBANDLITERATURE 107 6 SUMMARY,CONCLUSIONS,ANDRECOMMENDATIONS..119 . Summary 119 Conclusions 121 RecommendationsforImprovement 124 RecommendationsforFurtherResearch 127 IV BIBLIOGRAPHY 129 APPENDICES A FORMLETTER 140 B PERCUSSIONREQUIREMENTSOFSELECTED BANDLITERATURE 142 BIOGRAPHICALSKETCH 153 AbstractofDissertationPresentedtotheGraduateSchool oftheUniversityofFloridainPartialFulfillmentofthe RequirementsfortheDegreeofDoctorofPhilosophy ANANALYSISOFBEGINNINGTO INTERMEDIATEPERCUSSIONMETHODS USEDINSELECTEDPUBLICSCHOOLSAND THEIRRELATIONSHIPTOTHEPERFORMANCE REQUIREMENTSOFSTATEAPPROVEDBANDLITERATURE By JAMESKENTACKMAN August1998 Chairman:CharlesR.Hoffer MajorDepartment:Music Thepurposeofthisstudyistoexaminetherelationshipbetweenbeginningto intermediatepercussionbooksfromcontemporarybandmethodsandtheperformance requirementsoflevels III-VIbandliteraturetypicallyprogrammedbyhighschool ensemblesinconcert,contest,andfestivalsituations. Contemporarybandcomposershavewrittenwithincreasingfrequencyandfluency forpercussioninstruments. Inturn,thishasleadtoademandformorecomprehensively trainedstudentpercussionists. Forthisreason,thereisaneedforanexaminationof whethertheskillsstudentpercussionistsaretaughtinelementaryandmiddleschool percussionclassesarewhattheyactuallyneedtoknowinordertosuccessfullyperform levelsUJ-Vlbandliterature. Amajorissueinvolvingcontemporarybanddirectorsandinstrumentalmusic teachersintheareaofpercussioninstructionisspecialization. Thisisasituationinwhich vi astudentlearnstoperformonaparticularpercussioninstrument,suchassnaredrum,and remainsonthatinstrumentthroughouthisorherpublicschoolperformingcareer. This studyexaminestheextenttowhichspecializationinfluencesthecontentofpercussion methodbooksaswellastheperformancerequirementsoflevelsIII-VIbandliterature. Thesampleofpercussionbooksfrombandmethodswastakenfromtheresults ofasurveyof150middleschoolbanddirectorsinthreeseparategeographiclocationsin theUnitedSates,50eachinFlorida,Illinois,andMassachusetts. Schoolsforthesurveywererandomlyselectedfromtheweb-siteoftheAmerican SchoolDirectory. Methodbookswereexaminedforpresentationofskills,concepts,and instruments. Thereasonforthiswastoprovideabasisforexaminationoftheefficacyof themethodbooksinpreparingelementaryandmiddleschoolpercussioniststosuccessfully performtypicalhighschoolbandmusicliterature. Contentanalyseswereperformedonthefourmethodbookseriesmostfrequently citedinthesurveyasbeingincurrentuseinmiddleschoolinstrumentalmusicprograms. Thesemethodbookserieswereexaminedforsequenceofskills,concepts,and instrumentspresentedintheirtexts,aswellastheirmusicalandeducationalscope. Inordertoexaminetheextentoftherelationshipbetweenelementaryto intermediatepercussionmethodbooksandperformancepractices,100intermediateto advancedbandworkswereanalyzedfornumberofpercussionplayersandinstruments required,aswellaspercussiontechniquerequirements.Workswererandomlyselected fromtheapprovedconcertbandliteraturelistoftheNewYorkStateSchoolAssociation Thefinalportionofthestudyisdevotedtoadiscussionofconclusionsfromthe surveyandcontentanalysesofmethodbookseriesandbandliterature. Inaddition, recommendationsaremadeforimprovingthemusicalandeducationalcontentof percussionmethodbooks,aswellasfacilitatingthetrainingoffuturemusiceducatorsin undergraduatepercussionskillsclasses. vii CHAPTER 1 OVERVIEW Percussioninstalmentshavebeenapartofmusicalculturesincethedawnof civilization. Fromprehistoriclogdrumstocontemporaryelectronicdrum-machines,there hasbeensignificantinterestintheperformanceandeducationalareasofthisparticular family. IntheimmediateaftermathofWorldWarII,thetrendinpublicschoolswas toprogrammusicforconcertsfeaturingworksofcontemporarybandcomposersin additiontostandardmarchesandtranscriptionsoforchestralworks. Thesecomposers weretrainedinthe20thcenturystyleofcomposition,whichinvolvedinclusionofthe percussionsectionaspartofthemainfabricofthemusic.1 Thiswasadramatic departurefrompercussion'straditionalroleofaccompanisttotheband. Duringthesecondhalfofthe20thcentury,oftenreferredtoasthe"goldenage ofpercussion,"bandandorchestracomposershavewrittenwithincreasingfrequency andfluencyforpercussion,exploringtheirmusicalandcolorpotential.2 Inthe1980s,percussionenteredthearenaoftechnologywiththedevelopment ofelectronicpercussioninstruments. Today,usingMIDI(musicalinstrumentdigital interface)andotheradvancedcapabilities,percussionistsandcomposershaveattheir disposalanalmostinfiniterangeofsoundsandtimbres.3 1HaroldF Abeles,CharlesR.Hoffer,andRobertH.Klotman.FoundationsofMusic Education(SecondEdition).SchirmerBooks,NewYork,1973.page284. 2GaryCook.TeachingPercussion.SchirmerBooks,NewYork,1988.page9. 1 . 2 Thepracticalimplicationsofthisphilosophyofcompositionwithregardto percussionperformancerequirementsaretwofold. 1.)Thenumberofpercussion instrumentsemployedincontemporarybandliteraturehasbeenexpandedtoinclude ethnicandworldpercussioninstrumentssuchasmarimbasandLatinpercussion. 2.) Percussion partscontainedincontemporaryliteraturehavebecomemoresophisticated anddemanding4 NeedforComprehensivePercussionInstruction Alongwiththisincreasedemphasisuponpercussionwritinghascomeademand forcomprehensivelytrainedpercussionists,musicianswhocanperformcompetentlyon avastarrayofinstruments: pitchedandnon-pitched,melodicandrhythmic.5 Contemporarypercussionistsmustdevelopdiverseskillsinordertomeetthe performancedemandsofmodernbandliterature. Itisadifficultdilemmaforthe contemporarybanddirector:whethertoprogramapiececontainingacrucialmallet partthatnoneofthepercussionistscanplay,oruseamusicianfromanothersection toperformthepart.6 WiththeimplementationoftheNationalStandardsformusiceducation,there hasbeenawidespreaduseofpercussioninstrumentsforclassroominstruction. The 3SteveWilkes.'WelcometoPlanetElectronicDrum."PercussiveNotes,35:57-8n6 1997. 4Ibid. 5Cook,page3 6DonaldGilbert."ChangingConceptsinPercussion."TheInstrumentalist,23:64-5nlO 1969. 3 Orff-Schulwerkmethod,amongothersfeaturespercussioninstrumentsasthebasisof musicalinstruction. Percussioneducationisappropriateforstandardnumber2,regarding thestudent'sabilitytoplayaloneandwithothers,awidevarietyofinstruments.7 Thisquandaryfacingmodernpercussionistsandmusiceducatorsisrecognized byRichardColwellandThomasGoolsby(1992)inTheTeachingofInstrumentalMusk. Theirsummaryoftheproblemisfoundinthefollowingquote: Inspiteoftheirancientage,thepercussioninstrumentshave notbeenquiterespectableuntilrecently. Theyhavehadno literatureoftheirown,nogoodtextsormethodbooks, andnosystematicapproachforlearningthenecessary techniques.8 Theperceptionofpercussionistsasmusiciansisdiametricallyopposedtotheir traditionalreputationasmeretime-keepers,whichhasprimevalroots. Theperception oftheroledualityofpercussionistsalsoprovidesanequitablestartingpointforthe examinationofcontemporarypercussioneducation.9 RobertBuggert(1956)mentionshisbeliefthatinstructionforpercussion instrumentsisbyitsnaturedifferentthaninstructionforwoodwindandbrass instruments. Heattributesthistobrassandwoodwindplayersreceivinginstructionin 7NationalStandardsfortheArts(Music).MusicEducatorsNationalConference Reston,VA,1996. 8RichardColwellandThomasGoolsby.TheTeachingofInstrumentalMusic. (SecondEdition).Prentice-Hall,EnglewoodCliffs,NJ,1992.page323. 9Cook,page3.

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