Percussion in Classical Music
Percussion is arguably the most versatile of any instrument family in that it can be used in practically every genre or style of music. In an orchestral setting, percussionists are generally called on to provide different textures in the ensemble. Some percussion instruments are more commonly used than others. Timpani, for example, has been seen in Western classical music since the 17th century and became a standard orchestral instrument long before many other percussion instruments. Snare drum, bass drum, and crash cymbals were adopted soon thereafter and quickly became associated with the orchestra as well.
Read more about this topic: Orchestral Percussion
Famous quotes containing the words classical music, percussion, classical and/or music:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“We got our new rifled muskets this morning. They are mostly old muskets, many of them used, altered from flint-lock to percussion ... but the power of the gun was fully as great as represented. The ball at one-fourth mile passed through the largest rails; at one-half mile almost the same.... I think it an excellent arm.”
—Rutherford Birchard Hayes (1822–1893)
“Et in Arcadia ego.
[I too am in Arcadia.]”
—Anonymous, Anonymous.
Tomb inscription, appearing in classical paintings by Guercino and Poussin, among others. The words probably mean that even the most ideal earthly lives are mortal. Arcadia, a mountainous region in the central Peloponnese, Greece, was the rustic abode of Pan, depicted in literature and art as a land of innocence and ease, and was the title of Sir Philip Sidney’s pastoral romance (1590)
“On the first days, like a piece of music that one will later be mad about, but that one does not yet distinguish, that which I was to love so much in [Bergotte’s] style was not yet clear to me. I could not put down the novel that I was reading, but I thought that I was only interested in the subject, as in the first moments of love when one goes every day to see a woman at some gathering, or some pastime, by the amusements to which one believes to be attracted.”
—Marcel Proust (1871–1922)