Relevant bibliographies by topics / Drummers (Musicians)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Drummers (Musicians)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Drummers (Musicians)"

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Haygood, Montana, and Bruce N. Walker. "Temporary and Permanent Hearing Loss Among College-Aged Drumline Members." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 60, no. 1 (2016): 1009–13. http://dx.doi.org/10.1177/1541931213601234.

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Many musicians experience dangerous levels of sound exposure throughout their musical careers. In particular, members of marching percussion ensembles (“drumlines”) are exposed to prolonged periods of potentially damaging levels of sound. As a result, they are at risk of developing hearing loss. This study determines whether any significant hearing loss or threshold shifts occurs with drumline members in an indoor drumline and college marching band. Two groups of participants were analyzed: one group consisted of both college drumline and community-based competitive drumline members, while the
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Lederman, Richard J. "Drummers’ Dystonia." Medical Problems of Performing Artists 19, no. 2 (2004): 70–74. http://dx.doi.org/10.21091/mppa.2004.2011.

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Several reviews involving large numbers of instrumental musicians with focal dystonia from centers in the United States and Europe are available in the performing arts medicine literature, but only a relatively few percussionists have been included. This article describes 6 percussion instrumentalists, out of a total of 139 musicians with dystonia, seen in the Cleveland Clinic Medical Center for Performing Artists. The five men and one woman ranged in age from 21 to 51 years at the onset of dystonia; four were playing professionally, and two were students. Duration of symptoms at the time of e
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Nutt, Haley J. "The University Rock Ensemble: Popular music learning and drumming in higher education." Journal of Popular Music Education 5, no. 2 (2021): 243–62. http://dx.doi.org/10.1386/jpme_00060_1.

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This article provides a descriptive study of the FSU Rock Ensemble to demonstrate the value of providing inclusive popular music-based ensemble learning and opportunities in higher education. Beginning with an autoethnographic study of my experiences as a drummer in – and eventually director of – the non-auditioned ensemble, followed by a consideration of the attitudes articulated by several other drummers who recently participated in the ensemble, I analyse how musicians learn a traditionally non-academic music in an academic space. I conclude with a critical assessment of challenges that the
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Nager, Wido, Tilla Franke, Tobias Wagner-Altendorf, Eckart Altenmüller, and Thomas F. Münte. "Musical Experience Shapes Neural Processing." Zeitschrift für Neuropsychologie 31, no. 2 (2020): 81–86. http://dx.doi.org/10.1024/1016-264x/a000295.

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Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the t
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Fujii, Shinya, Kazutoshi Kudo, Tatsuyuki Ohtsuki, and Shingo Oda. "Intrinsic Constraint of Asymmetry Acting as a Control Parameter on Rapid, Rhythmic Bimanual Coordination: A Study of Professional Drummers and Nondrummers." Journal of Neurophysiology 104, no. 4 (2010): 2178–86. http://dx.doi.org/10.1152/jn.00882.2009.

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Expert musicians show experience-dependent reduced asymmetry in the structure of motor-related brain areas and in the maximum tapping frequency between the hands. Therefore we hypothesized that a reduced hand-skill asymmetry is strongly related to rapid and rhythmical bimanual coordination and developed a dynamical model including a symmetry-breaking parameter Δω, for human bimanual coordination. We conducted unimanual and bimanual drumming experiments to test the following model predictions. 1) The asymmetry in the maximum tapping frequency is more pronounced in nondrummers than that in drumm
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Kippen, James. "An Ethnomusicological Approach to the Analysis of Musical Cognition." Music Perception 5, no. 2 (1987): 173–95. http://dx.doi.org/10.2307/40285391.

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A genre of North Indian drumming has become the focus of experimental research in which an "expert system" is programmed to simulate the musical knowledge of the drummers themselves. Experiments involve the interaction of musicians with a computerized linguistic model contained within the expert system that formalizes their intuitive ideas regarding musical structure in a generative grammar. The accuracy of the model is determined by the musicians themselves, who assess its ability to generate correct pieces of music. The main aims of the research are the identification of the cognitive patter
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Kajanová, Yvetta. "Slovakian Female Composers and Rock Instrumentalists." Zbornik radova Filozofskog fakulteta u Splitu, no. 16 (December 21, 2023): 137–53. http://dx.doi.org/10.38003/zrffs.16.8.

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The paper discusses gender issues and the reception of female musicians in Slovakia. Using historical analysis, the author examines the establishment of, and behaviour towards, females in various genres from classical to jazz, alternative rock and electronic music. Whilst the acceptance of classical female composers began forty years ago, their jazz and rock counterparts were disadvantaged by a twenty-year delay. It was not until 2000 that female instrumentalists started to gain attention from audiences as drummers, bassists, or guitarists. Based on the evaluation of a survey of Slovakian alte
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West, David. "Tone and training: Teaching drum kit students on acoustic versus electronic instruments." Journal of Popular Music Education 5, no. 2 (2021): 263–79. http://dx.doi.org/10.1386/jpme_00061_1.

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This article explores elements of tonal production in acoustic drums to support an argument for its use in the learning environment, as opposed to electronic drums. Aspects discussed include tonal production, range of dynamics, dynamics between components of the drum kit, articulation, specific sticks, specific types of strokes and stylistic elements. The argument focuses on describing how each of these factors work on acoustic drum kits, in what ways they differ on electronic kits and how auditory perception and training can work hand in hand with developing technical facility. Tonal quality
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Cicchini, G. M., R. Arrighi, L. Cecchetti, M. Giusti, and D. Burr. "Optimal coding of interval timing in expert drummers, string musicians and non-musical control subjects." Journal of Vision 11, no. 11 (2011): 1229. http://dx.doi.org/10.1167/11.11.1229.

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Wijaya, Yonathan, I. Wayan Dibia, and Ni Wayan Ardini. "Bangkong: Eksplorasi Ritme dan Timbre Suara Katak secara Akustik pada Rancangan Instrumen Drumkusi." Journal of Music Science, Technology, and Industry 4, no. 2 (2021): 221–31. http://dx.doi.org/10.31091/jomsti.v4i2.1794.

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Purpose: The creation of this work is directed at producing a drumming style in another way and a drum cussion solo composition. Research method: This creation uses the roger sessions creation method, namely inspiration, conception, and execution. Results and discussion: The creative form of Bangkong's musical work is to transform the frog's voice which is formulated in the formulation of the problem into three parts in this work, where each part of the work is given the freedom to improvise but is conceptualized. Implication: Bangkong is processed in such a way as to produce three forms of Ba
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Dissertations / Theses on the topic "Drummers (Musicians)"

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Zook, Rebecca. "Women drummers, forbidden drums: Obiní Batá negotiates a taboo." Thesis, Boston University, 2002. https://hdl.handle.net/2144/27810.

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Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-02
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Hall, Toby. "Tony Williams: rhythmic syntax in jazz drumming." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/19736.

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Suraweera, Sumuditha. "Sri Lankan, Low-Country, Ritual Drumming: The Raigama Tradition." Thesis, University of Canterbury. School of Music, 2009. http://hdl.handle.net/10092/3440.

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This thesis provides an in-depth account of the Low-Country, ritual, drumming tradition of Sri Lanka. Low-Country drumming is characterized by its expressive and illusive sense of timing which makes it appear to be free of beat, pulse and metre. This makes it special in respect to other drumming cultures of the world. However, the drumming of the Low-Country is marginalized, unaccepted and unexposed. Drawing on original fieldwork from the Western province of Sri Lanka, this study analyses the drumming of three distinct rituals: devol maḍuva, Kalu Kumāra samayama and graha pūjāva of Raigama, th
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Ellis, Stephen James. "An exploration of James Dreier’s Standard Tune Learning Sequence in a self-directed learning environment : an interpretative phenomenological analysis." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1011312.

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This qualitative case study was undertaken in order to explore the experiences of drum set students who apply themselves to James Dreier’s Standard Tune Learning Sequence (STLS) in a self-directed learning environment. These experiences ultimately shed light on how best to implement Differentiated Instruction to the STLS. The study draws on the experience of three adult drum students under the instruction of the author. The students were provided with the STLS and left to proceed with it on their own. They were asked to keep a record of their progress in the form of a learning journal. These l
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Elmes, Barry W. "Elvin Jones : defining his essential contributions to jazz /." 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11781.

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Thesis (M.A.)--York University, 2005. Graduate Programme in Music.<br>Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11781
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Anku, William Oscar. "Procedures in African drumming a study of Akan/Ewe traditions and African drumming in Pittsburg /." 1988. http://catalog.hathitrust.org/api/volumes/oclc/20444879.html.

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Books on the topic "Drummers (Musicians)"

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Spagnardi, Ron. The great jazz drummers. Modern Drummer Publications, 1992.

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Spagnardi, Ronald. The great jazz drummers. Modern Drummer Publications, 1992.

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Gourse, Leslie. Timekeepers: The great jazz drummers. Franklin Watts, 1999.

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Gourse, Leslie. Timekeepers: The great jazz drummers. Franklin Watts, 1999.

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Brand, Jack. Shelly Manne: Sounds of the different drummer. Percussion Express, 1997.

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Bhaṭṭācārya, Debāśisa. Binaẏa bām̐śi, eka bāẏenera galpa. Hr̥ka, 2002.

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Correia, Joaquim. Beto dos Windies, Beto Kalulu: Da cena musical em Luanda à consagração no Algarve. 2nd ed. Ideias com História, 2017.

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Paramānanda, Majumadāra, ed. Gaṇaśilpī Maghāi Ojā: Smr̥ti saṃkalana. Samanwaẏa Granthālaẏa, 1988.

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Jean, Patrick. Sans regrets (ou presque): Autobiographie d'un saltimbanque, de 1946 à 2010. Vents salés, 2011.

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Netinho. Netinho: Minha história ao lado das baquetas. Minuano Cultural, 2008.

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Book chapters on the topic "Drummers (Musicians)"

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Korall, Burt. "Jazz Drumming." In The Oxford Companion To Jazz. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0053.

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Abstract The drummer, a primary supportive-interactive inspirational source in jazz, is a product of an ever evolving musical tradition. Like all jazz musicians, the keeper of the rhythmic flame has melded elements out of our own culture and those of Africa and Europe. Drummers have expanded their vision and reinvented themselves as jazz has developed and diversified. However, the soulful energy and time, always the drummer’s responsibility, remains alive at the music’s core-in one form or another. Jazz rhythm owes an on going debt to black music and musicians. Though deeply responsive to black life, the music covers a wider arc and, as performed through history, exemplifies democracy in action. Seemingly disparate elements mingle and compatibly blend. Our jazz tale focuses on unusually gifted drummers-those who originated techniques and concepts and avoided the commonplace. The story begins in New Orleans, a port city notable for the mix of black, brown, and beige, of Spanish and French cultural influences. The definition of a melting pot, it was a logical place for jazz to take form.
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Crease, Stephanie Stein. "Spinnin’ the Webb." In Rhythm Man. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190055691.003.0013.

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Abstract This chapter focuses on Webb as an innovative drummer, his custom-made drum sets, musicians and disability, and his bandleading skills. On the bandstand at the Savoy Ballroom, Webb sat in the middle of the band’s front line. Nothing about his drumming—its force, power, forward-pushing sense of swing—suggested that he had a disability, even though he had a spinal deformity. Black and white entertainment reporters often painted a narrative of Webb’s triumph against all odds, including poverty and disability, but as the first drummer-bandleader in jazz, he was decisive and confident about his band’s musical direction. His development as a drummer went along with refinements in the drum set, drum hardware, and accessory instruments. The Gretsch instrument company designed a custom kit for Webb, the quintessential artist-drummer, which included the premier Gretsch-Gladstone snare, designed by Billy Gladstone, Radio City’s percussionist, who also invented drums and percussion gear. This chapter discusses Webb’s drumming mastery, his friendships with other prominent Swing Era drummers like Gene Krupa and Jo Jones, and his influence on modern jazz drummers including Max Roach, Kenny Clarke, and Art Blakey.
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Wells, Christi Jay. "“Lindy Hopper’s Delight”." In Between Beats. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197559277.003.0003.

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As jazz music became popular entertainment nationwide, many dances circulated from social venues to professional floor shows and ballroom stages and then back again to amateur social practice. As musicians built careers playing for social dancers touring with professional dance acts, they learned to structure their performances collaboratively by listening visually to dancers’ bodies. Jazz musicians, and especially drummers, learned to accentuate dancers’ movements and engage them in playful “catching” games while also providing the stable rhythmic framework that encouraged dancers to participate kinesthetically with the music. This chapter explicates the dynamics of such relationships through the career of drummer Chick Webb, whose reputation was built on the strength of his close connection with lindy hop dancers during his tenure as house bandleader at Harlem’s Savoy Ballroom throughout the 1930s. Specifically, it explores his close connections with Whitey’s Lindy Hoppers, a group of talented young dancers who became among the first to adapt this social partnered dance for the professional stage and, ultimately, for Hollywood films. Webb played regularly for elite lindy hop dancers in films, in touring stage shows, for amateur dance contests, and nightly at the Savoy, and his evolving relationship with them throughout the 1930s reveals the fluid boundaries between labor and play through which musicians and dancers co-creatively shaped jazz’s development.
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Hartenberger, Russell. "Learning to Feel the Time." In Performing Time. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192896254.003.0036.

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Abstract When musicians talk about playing with good time, they refer to the ability to keep a regular, steady pulse or beat. However, they often use the term ‘time feel’ interchangeably with time. Musical time, to performers, is as much about a feel as it is about keeping a steady beat. Time and feel are particularly important aspects of performance for percussionists/drummers since their attack placement is critical and undeniable in its immediacy. How does a percussionist learn to play and feel time? How do musicians in different cultures learn and think about time? And how can empirical research inform performers of pulse-based music? This chapter examines these questions from the perspectives of Western and non-Western musicians and from the disciplines of ethnomusicology, rhythmic theory, poetry, neuroscience, and music perception and cognition.
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Crist, Stephen A. "Onto the World Stage." In Dave Brubeck's Time Out. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190217716.003.0002.

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This chapter concerns the internationalization of the Dave Brubeck Quartet. After several years of preliminary discussions, in 1958 the group finally traveled abroad for the first time, on a three-month trip, largely under the auspices of the US State Department. By this time, the Quartet’s personnel finally reached a steady state, after a series of different bass players and drummers. The “classic” Quartet was the group of musicians who recorded Time Out the next year. Around the same time, Brubeck became increasingly involved with issues of civil rights. The Quartet also made history in the late 1950s by performing jazz in concert halls and on college campuses. Finally, Dave and Iola Brubeck devoted themselves tirelessly to the creation and promotion of The Real Ambassadors, a musical that they hoped would be produced on Broadway.
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Um, Nancy. "Rites of Entry at the Maritime Threshold." In Shipped but Not Sold. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824866402.003.0002.

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This chapter delves into the ceremonial receptions that the local administration of the port of Mocha staged to welcome high-profile merchants when they arrived in the harbor from their extended sea journeys. The ceremonies involved drummers, musicians, flags, and parades of decorated horses as well as the appearance of the city’s notables splendidly dressed in imported textiles to welcome new arrivals at Mocha’s jetty. It argues that these welcome rituals were not just empty, extravagant displays of pomp. Rather, they constituted a requisite stage of commercial initiation when the local maritime administration, in addition to other merchants, vetted and sized up new arrivals. Material objects, such as flags, sumptuous robes, Arabian horses, various items of reception, and architectural spaces, played a key role in this process of selection and the conferral of local approval.
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Harker, Brian. "Jazz, Jazz, Jazz." In Sportin' Life. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197514511.003.0011.

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This chapter surveys Buck and Bubbles’s career in the early 1930s. During this period, the two actors reached the peak of their popularity and critical acclaim. At the same time, vaudeville, their customary meal ticket, was declining while Black jazz was attracting more and more adherents. Singers, dancers, and comedians found they could survive by providing a floor show for the big bands, riding on the bandleaders’ coattails. Buck and Bubbles shared the bill with many bands from this period. Not surprisingly, tap dancers and jazz musicians began to engage in musical dialogues. The interaction between dancers and drummers, in particular, may have led to the rhythmic complexities associated with modern jazz. Dancer Honi Coles gave credit to Bubbles for catalyzing this process with his vaunted heel drops.
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Evans, Gregory. "Jazz Drums." In Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0020.

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It is no secret that music educators are faced with unique challenges when engaging young musicians who play drum sets. Many educators aren’t drummers themselves, which can create fear and uncertainty and ultimately lead them to avoid, rather than embrace, the wonderful and exciting world of jazz percussion. This chapter provides conceptual and technical approaches to understanding the role each component of the drum set contributes to the ensemble, as well as the role of the drum set in its entirety. It also touches on how dynamics can change the function and style of a groove as well as creative ways to encourage students to move beyond pattern playing. In particular, discussion and examples are provided regarding setup, sound sources, keeping time, functioning within the rhythm section, transitioning from timekeeping to improvising, and various rhythms and grooves.
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Vera, Alejandro. "Convents and Monasteries." In The Sweet Penance of Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190940218.003.0003.

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This chapter studies musical life in convents and monasteries during the colonial period. Among other aspects, it shows how music represented for the nuns both a tool for entering the convent and an authentic vocation. It explores the musical links between monastic institutions, and between them and the cathedral, explaining how these frequent contacts facilitated the circulation of musicians and sacred music throughout the city. It also studies the prevailing instruments, repertoires, and musical genres, including music performed by drummers and trumpeters during the main fiestas. Finally, it also analyzes some pieces preserved in the cathedral, but linkable to religious orders, such as three lessons for the Dead by the Franciscan Cristóbal de Ajuria, some villancicos composed for the profession of nuns, and a villancico entitled “Qué hará Perote pasmado,” possibly composed for a monastery in the early 19th century. All of this contributes to situating monastic music in Santiago’s soundscape.
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Crow, Bill. "Tacoma, Baltimore, and Washington." In From Bird land to Broadway. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069884.003.0004.

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Abstract No instruments or equipment had arrived at Fort Lewis for the new Fifty-first Army Band. Eager to be playing again, I went home to Kirkland on a weekend pass and got my baritone horn. I had bought one of my own in high school, a King, paying it off on the installment plan with money I earned on after-school jobs. Some of the other Army musicians also had their own instruments with them. We got together and played every day for our own amusement. I had the most fun playing with Ray Baram, a cornet player from Brookline, Massachusetts. Ray had a great enthusiasm for jazz and was happy to find a soul mate. Ray had lived in New York for a while before being drafted, and he knew musicians like Frankie Newton, Muggsy Spanier, and Pee Wee Russell, who were only names on record labels to me. A self-professed “moldy fig,” Ray taught me all the tradition ! Dixieland tunes. He thought the baritone horn was a quaint tailgate instrument. We jammed together whenever we could, and kept wishing for a good jazz clarinet player to complete our Dixieland front line, but the Army never provided us with one. We had no rhythm section either; our Army band drummers only played the street drums.
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Conference papers on the topic "Drummers (Musicians)"

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Ekşioğlu, Mahmut, N. Kaan Öztürk, and Orkun Şirin. "Save the Musicians! The Ergonomics of the Drumming." In Applied Human Factors and Ergonomics Conference. AHFE International, 2018. http://dx.doi.org/10.54941/ahfe100073.

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Drumming is a highly repetitive and demanding physical art nearly played in all music styles. Drummers use both two hands and feet during playing. Due to this fact, the musicians in the drumming profession are facing the risks of developing musculoskeletal pain and injury in the hands, wrists, elbows, shoulders, ankles as well as low back and neck areas. Especially, wrists, ankles and back are the most risky parts. To reduce the risks involved and improve the drumming performance, the drummer´ workstation set up, instruments and the method of performing need to be evaluated and redesigned acco
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