Performer, educator, and twice winner of the prestigious Percussive Arts Society Composition Contest, Murray Houllif is renowned for his hundreds of compositions and pedagogical publications. Born in 1948, and a native of Woodbourne, New York, he earned his Bachelor of Science Degree in Music Education from the State University of New York at Potsdam, and his Master of Music Degree in Percussion Performance from the State University of New York at Stony Brook; crediting Raymond Des Roches, Richard Fitz, James Petercsak, Sandy Feldstein, and Bey Perry as his primary teachers.
As an educator, Mr. Houllif was the Co-Coordinator of Percussion at North Texas State University in Denton, Texas, and for 32 years he served as concert band director and percussion specialist for the public schools of Smithtown, New York. He has published pedagogical articles with such journals as: The Instrumentalist, School Band and Orchestra, Percussive Notes, and the Music Educators Journal.
Endorsed by Pro-Mark Sticks, and Grover Pro-Percussion Products, Mr. Houllif currently performs with the Atlantic Wind Symphony, Theatre Three, and as a freelance percussionist. As a member of the Long Island Symphony under Seymour Lipkin, and the Nassau Symphony under Andrew Schenk, he has performed with such artists as: Dave Brubeck, Marian McPartland, Itzak Perlman, Bryon Janis, Stanley Drucker, Julius Baker, Lynn Harrell, and Phil Smith. In addition, he co-founded, composed for, and performed with, the Ambira Mallet Quartet; and for seven years he was the drummer for tenor saxophonist, Arthur Rollini, formerly of the Benny Goodman Band of the 1930’s.
When did you begin studying music?
At age 10 I was given a guitar, and at age 11 I started on the trumpet in school, eventually switching to the tuba after developing lip sores from the trumpet mouthpiece. I began percussion at the age of 13, also in school.
When did you decide to make music your career?
Probably in the 10th grade when I was 15. There was really nothing else which excited me besides baseball – but I wasn’t as good as Mickey Mantle, my hero at the time.
Who were your primary teachers?
In high school I studied with Bey Perry who taught me jazz drumming, Irv Greene who concentrated on reading, and Daniel Perez who worked on hand development per his studies with Henry Adler. As an undergrad I studied with Sandy Feldstein and James Petercsak, and I took additional lessons with Richard Fitz, a NYC freelancer. During my graduate work, I studied with Raymond Des Roches. And when I was 58, I took some lessons with Dom Famularo in an attempt to develop Joe Morello chops – a work-in-progress.
Did you have a specific goal to teach, perform, etc.?
My goal was always to perform as well as possible. My family situation made it necessary to go into teaching at age 21 which became my 33-year career. Composing developed from seeing a need early on as a teacher for concert and pedagogical materials for the snare drum, drum set, mallets, timpani, and percussion ensemble. I also wrote pieces for my concert bands at the middle school where I taught.
Do you focus on a specific area of percussion?
Now it’s mostly drum set. Earlier it was mallets and timpani too.
Is there a specific genre you enjoy performing most?
I enjoy performing 60’s jazz (post-bop mainly) and funk on drum set. I also enjoy “contemporary classical” percussion playing. I guess Stravinsky is a preference.
Who impacted your musical growth the most?
Bey Perry who gave me a great appreciation for jazz drumming. Jim Petercsak and Ray Des Roches helped me to play and appreciate percussion ensemble and contemporary chamber music. Ray, in particular, was a very exacting teacher who encouraged me to play with accuracy and musical sensitivity to the notes on the page in any style.
What teaching positions have you held?
I taught in a Long Island public school for 32 years as a band director/percussion specialist, and one year as Assistant Professor of Percussion at North Texas State University.
What percussionists have inspired you the most?
Elvin Jones for his feel and original concept of jazz drumming. Joe Morello for his fantastic technique and soloistic creativity. Ditto for Buddy Rich. Steve Gadd for his unique approach to funk drumming (which so many of us have copied over the years). David Garibaldi for his thoughtful playing of just the “right thing” with Tower of Power. Gary Burton for his groundbreaking creative development of 4-mallet jazz vibe playing, and Milt Jackson for his sound and inspired melodicism. Mike Manieri should be in there too.
Have you formally studied composition?
I have no formal training in composition, nor have I ever taken lessons with a composer. But I’ve studied and conducted numerous scores, and have avidly listened to, and performed various types of music all my life. As a performer, I think one listens differently from non-performers (e.g. with more scrutiny and insight).
What motivated you to begin composing?
I had a cousin who studied with the great Henry Adler and visited us at our Upstate NY home during the summer. We would play snare drum duets together and he would encourage me to write some of my own. This got me started. I was 15 years old. I also composed a few pieces for my college percussion ensemble, and when I became a public school teacher, I saw needs for various types of pieces which I hoped would inspire and interest my students. The same thing occurred when I taught at the University of North Texas. In 1976 I won first place in the PAS Composition Contest with Four Verses for Timpani. This was inspirational and somewhat of a confirmation and affirmation that my compositions had validity and relevance. I have been composing since 1975 – but I don’t do it on a daily basis. I prefer to practice my instruments and play with other musicians. Often ideas come from this activity.
What composers do you identify with?
I admire the works of Michael Colgrass in percussion, and Igor Stravinsky in chamber and orchestral music.
What is your compositional approach?
Regarding compositional approach: sometimes I begin with a title and an image (sort of programmatically), other times I might have a rhythmic and/or melodic motif which I try to embellish and develop. Other times inspiration might come from a dance form, such as in Latin music (mambo, cha-cha, samba, etc.). My principal publisher, Kendor Music, often suggests ideas which give inspiration.
Do you compose with a specific grade level in mind?
Yes, I usually do compose with specific grade levels in mind, often to satisfy the requests and expectations of my publisher. It is quite challenging to do so and I enjoy this.
Does being a percussionist make it easier to compose for this instrument?
I think being a percussionist definitely helps me to compose for this genre. But there are obviously many fine non percussionist composers who write extremely well for percussionists because they “do their homework”, ask questions, etc.
Has composing made you a better teacher and/or performer?
Yes, composing has definitely helped me to be a better teacher and performer in that I try to do justice (in both areas) to what I think the composer has in mind. When I teach, I don’t assume that the student intuitively understands. I break things down for them in simple language and demonstrate whenever possible. I constantly strive for new and better ways to explain musical concepts. One of my teachers, Raymond Des Roches, was a master at imparting a composer’s intention in a percussion ensemble chamber piece, and insisted upon rhythmic accuracy, attention to dynamics, balance, phrasing, etc. – all those elements which are essential to ensuring a good performance and “doing justice” to the composer. This is what I strive for too.
How do you feel about performers interpreting your work differently than you intended?
I think a different interpretation can be refreshing and equally as interesting (or even more interesting) than what I had intended. Isn’t music a form of SELF-EXPRESSION?
If you would like to learn more about, and/or contact Mr. Houllif, please visit his website at: www.murrayhoullif.homestead.com
