Relevant bibliographies by topics / Electronic Percussion

Contents

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

Academic literature on the topic 'Electronic Percussion'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Electronic Percussion"

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Harada, Minoru, and Yuichirou Suenaga. "Electronic percussion system and electronic percussion instrument incorporated therein." Journal of the Acoustical Society of America 127, no. 2 (2010): 1180. http://dx.doi.org/10.1121/1.3326933.

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Kashio, Yukio, and Yoneaki Arai. "Electronic percussion instrument." Journal of the Acoustical Society of America 90, no. 3 (September 1991): 1712. http://dx.doi.org/10.1121/1.401686.

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Hashimoto, Ryuji. "ELECTRONIC PERCUSSION INSTRUMENT." Journal of the Acoustical Society of America 133, no. 1 (2013): 614. http://dx.doi.org/10.1121/1.4774195.

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Toda, Jiro. "Electronic percussion instrument." Journal of the Acoustical Society of America 117, no. 5 (2005): 2699. http://dx.doi.org/10.1121/1.1932398.

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Takeuchi, Akihiko, and Masaaki Mizuguchi. "Electronic keyboard percussion instrument." Journal of the Acoustical Society of America 88, no. 1 (July 1990): 594. http://dx.doi.org/10.1121/1.399833.

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Yoshino, Kiyoshi. "Electronic percussion instrument and vibration detection apparatus." Journal of the Acoustical Society of America 120, no. 5 (2006): 2416. http://dx.doi.org/10.1121/1.2395173.

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Susami, Ryo. "Electronic percussion instrument, system, and method with vibration." Journal of the Acoustical Society of America 127, no. 2 (2010): 1179. http://dx.doi.org/10.1121/1.3326932.

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Fujita, Akihiro. "Electronic percussion device for generating a percussion waveform using shock strength and vibration of a batter head." Journal of the Acoustical Society of America 94, no. 6 (December 1993): 3540. http://dx.doi.org/10.1121/1.407118.

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Adinolfe, Alfonso. "Electronic percussion system simulating play and response of acoustical drum." Journal of the Acoustical Society of America 96, no. 3 (September 1994): 1951. http://dx.doi.org/10.1121/1.410132.

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Suenaga, Yuichiro. "Drumhead and muting structure for acoustic and electronic percussion instruments." Journal of the Acoustical Society of America 117, no. 3 (2005): 996. http://dx.doi.org/10.1121/1.1896681.

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Dissertations / Theses on the topic "Electronic Percussion"

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Thierauf, Andrew. "Percussion and Max: a collection of short works for solo percussion and live electronics." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1774.

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The combination of solo percussion with live electronics is one of the newest genres of music today. An outgrowth of the instrument and fixed media genre, live electronic music combines a musician on stage performing with a computer or other technology performing real-time processes. This document is a collection of five works scored for percussion and the computer program Max intended for the collegiate level. In addition, there are explanations and schematics of the patches to help the performer learn how to use Max. This document could serve as supplemental material for an undergraduate percussion curriculum to help students gain experience performing with live electronics. Most students in university music departments are not exposed to technology unless they seek it out themselves. This may cause many student instrumentalists to be hesitant to play works with technology. However, as performing with electronics becomes more common, music students without this experience are at a disadvantage. Basic knowledge of audio equipment, having experience using a microphone, sound recording, and other technical know-how is essential to becoming a successful performer in a contemporary setting. Being able to perform with electronics creates new opportunities for repertoire, collaboration, and performance. Many universities are starting new programs dedicated to interdisciplinary studies such as digital humanities. These collaborative efforts bring together musicians, dancers, writers, visual artists, computer scientists, and others to create new work. Music students who have some background in performing and working with electronics could be a part of these collaborative efforts and help produce compelling, original work.
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Michael, Carlucci. "The Development of New Electronic Percussion Instruments in Popular Music of the 1980s: A Technical Study." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31376.

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The influence of electronic percussion (in particular, the Simmons Drum Company’s innovations) on the compositions and evolution of 1980s Pop music can be examined through technological advancements as well as stylistic characteristics of drum partitions of the decade. Archived company catalogues in collaboration with Matt Dean’s historical timeline provide a clear understanding of the advancements during the time of the company’s tenure at the top of the electronic percussion industry. Definitions of the terms “style” and “genre” in both the primary and secondary approaches -by Allan Moore and other theorists- are used. The stylistic properties which create a genre are key in understanding the political, social, and cultural effects on the music. Ultimately, stylistic traits provide sufficient evidence in order to examine similar compositions which were sub-categorized differently on Billboard’s hit charts. Dave Carlton’s Hook Theory is a major resource in selecting pieces of music which share similarities. The differences in sub-categorization identified in this study are shown to derive from the transition to and the use of electronic percussion.
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Budón, Osvaldo 1965. "Territorios : for percussion ensemble and digital sounds on tape." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23969.

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Territorios is a 15-minute composition for eight percussionists and prerecorded sounds on digital tape. The composer chose this particular instrumentation because of his conviction that percussion and electronic/digital instruments are the most powerful sources of fresh and innovative sound matter that have appeared during this century. This choice also allowed him to challenge the development of a new and consistent rhythmic syntax derived from the internal structure of percussion instruments, which in turn made it possible to establish solid ties between the sound itself and the musical syntax that rules its organization.
Since different tempi are often used simultaneously in Territorios, the performance of the piece requires a set of computer-generated click-tracks carrying individual pulse lines; hearing these pulses through headphones, the performers are able to play the piece in precise tempo.
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Tan, Anthony. "--then time killed the wind-- : for percussion quartet and live electronics." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116055.

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...then time killed the wind... is an original musical composition scored for percussion quartet and electronics with a duration of fourteen minutes. This work explores metaphorical relationships between biological processes and musical processes. The primary constructive element in the work is a rhythmic language based upon the assignment of rhythmic cells to genetic sequences. Furthermore, biological models such as inverted repeats, zeitgeber, 2-D representations of DNA and cross-breeding were applied to musical parameters such as form, pitch, harmony and live electronics.
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Sokolov, Yaron. "Atteone significa : for viola, piano and percussion with controllers /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.
The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.
"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.
'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."
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Radford, Laurie 1958. "Origophonie : for 2-12 voice choirs (SATB), 6 percussion and tape." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59615.

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Andersson, Håkan. "A Co-Simulation Approach for Hydraulic Percussion Units." Licentiate thesis, Linköpings universitet, Mekanik och hållfasthetslära, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-151018.

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This Licentiate of Engineering thesis concerns modelling and simulation of hydraulic percussion units. These units are often found in equipment for breaking or drilling in rock and concrete, and are also often driven by oil hydraulics, in which complex fluid-structure couplings are essential for their operation. Current methodologies used today when developing hydraulic percussion units are based on decoupled analyses, which are not correctly capturing the important coupled mechanisms. Hence, an efficient method for coupled simulations is of high importance, since these mechanisms are critical for the function of these units. Therefore, a co-simulation approach between a 1D system simulation model representing the fluid system and a structural 3D FE-model is proposed. This approach is presented in detail, implemented for two well-known simulation tools and evaluated for a simple but relevant model. The Hopsan simulation tool was used for the fluid system and the FE-simulation software LS-DYNA was used for the structural mechanics simulation. The co-simulation interface was implemented using the Functional Mock-up Interface-standard. The approach was further developed to also incorporate multiple components for coupled simulations. This was considered necessary when models for the real application are to be developed. The use of two components for co-simulation was successfully evaluated for two models, one using the simple rigid body representation, and a second where linear elastic representations of the structural material were implemented. An experimental validation of the co-simulation approach applied to an existing hydraulic hammer was performed. Experiments on the hydraulic hammer were performed using an in-house test rig, and responses were registered at four different running conditions. The co-simulation model was developed using the same approach as before. The corresponding running conditions were simulated and the responses were successfully validated against the experiments. A parameter study was also performed involving two design parameters with the objective to evaluate the effects of a parameter change. This thesis consists of two parts, where Part I gives an introduction to the application, the simulation method and the implementation, while Part II consists of three papers from this project.
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Lee, Brent. "Ribbons of visible air." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0033/NQ38923.pdf.

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Harrison, William Brady II. "FINDING THE “TECH” IN TECHNIQUE: A PEDAGOGICAL APPROACH TO ELECTROACOUSTIC CONCERT PERCUSSION PERFORMANCE PRACTICE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/139.

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Premise and Objectives In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices. Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable of dealing with this growing body of literature, but also the process of educating these students becomes more efficient for the teacher. As a result, delivery becomes more effectively standardized, and resources can be shared more efficiently among multiple students who may be studying different types of electroacoustic repertoire. Method To organize this exploration, three main genres of electroacoustic repertoire for percussion are compared: prerecorded soundscape, live processing, and electronic pieces. This comparison illuminates the tools and techniques that are relevant to each type of repertoire and reflects not only the narrower focus of electroacoustic percussion, but also the broader goals of applied percussion instruction in the context of a “total” percussion program. Each classification is explored by addressing its critical elements using prime examples from the relevant standard repertoire. For the first classification of works, tape pieces, the project includes discussion on signal flow, balancing electronic and acoustic sound sources, an introduction to digital audio workstations (DAWs), and monitoring techniques. Two primary examples of the repertoire are used to contribute to this discussion; Javier Alvarez’s Temazcal for maracas and tape, and Brian Blume’s Strands of Time. Live processing works present increased challenges with concepts, including sound reinforcement, recording production, how to edit and creatively manipulate sound both in post-production and live, and detailed concepts of signal flow, often including MIDI protocol. To explore the concepts specifically relevant to live processed works, Nigel Westlake’s classic work, Fabian Theory, for amplified marimba and three toms, is offered. Electronic works give students further opportunity to explore MIDI mapping, patch and parameter changes using both hardware and software, and sometimes sound design. In this context, there is a brief exploration of Steve Reich’s Violin Phase. Finally, an exploration of Hans Werner Henze’s, Prison Song demonstrates how all of this technology and technique can come together in combination works. The work requires live sound reinforcement, pre-recorded soundscapes, separate monitoring, live processing, and live MIDI controllers. The paper closes with a brief summary of extra pedagogical considerations, including resource management, pedagogical philosophy, and further implications. Conclusion By examining the logical steps of pedagogically developing through the different broad categories of electroacoustic music, with an emphasis on its reflection of broader liberal values and critical applied analysis, it is believed that this research could yield a model for a more thoughtful approach for applied percussion teachers.
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Books on the topic "Electronic Percussion"

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Percussion & electronic instruments. Philadelphia: Chelsea House Publishers, 2001.

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Dearling, Robert. Percussion & electronic instruments. Philadelphia, PA: Chelsea House Publishers, 2000.

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Robby, Berman, ed. All about-- electronic percussion. Milwaukee, WI: Hal Leonard, 2006.

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Crombie, David. The complete electronic percussion book. London: Amsco, 1987.

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Weinberg, Norman. The electronic drummer. Cedar Grove, NJ: Modern Drummer Publications ; Exclusive distributor, H. Leonard Pub. Corp., 1989.

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Batkin, T. Strategic marketing plan for Simmons Electronic Percussion Company. Oxford: Oxford Brookes University, 1996.

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Friedman, Dean. The complete guide to synthesizers, sequencers & drum machines. New York: Amsco Publications, 1985.

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Pauly, Ortiz, ed. Beat it!: Serious drum patterns from Heavenly Music's Joe and Pauly Ortiz. Kent: PC Publishing, 1997.

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Stubley, Eleanor Victoria. A guide to solo french horn music by Canadian composers. Toronto: Canadian Music Centre, 1990.

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Albright, William. Symphony for organ: Organ solo with percussion (or pre-recorded tape). New York: Henmar Press, 1993.

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Book chapters on the topic "Electronic Percussion"

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Siwe, Thomas. "Electronic Music." In Artful Noise, 107–17. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0008.

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With the end of World War II came the rebirth of European radio. Government stations in both France and Germany established experimental studios for research, from which arose a new kind of music, “electronic music.” The station in France, Office de Radiodiffusion Télevision Française (ORTF), was directed by the engineer/composer Pierre Schaeffer and his partner, Pierre Henry, who called their musical creations musique concrète. In Germany the Westdeutscher Rundfunk (WDR) studio produced music through the process of “synthesis.” This chapter will explain the difference between the two approaches used to create electronic music with examples from the percussion solo and ensemble repertoire. Early experiments using wire recorders, test records, and tape recorders by composers Halim El-Dabh, John Cage, and Edgard Varèse precede the major electronic works of Karlheinz Stockhausen, Mario Davidovsky, and the American composer Stephen Everett, whose use of computers in “real time” brings the reader into the next century.
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Siwe, Thomas. "Introduction." In Artful Noise, 1–4. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0001.

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During the 1900s, many well-known composers produced significant works for percussion instruments alone within the genres that appeared throughout the century, for example, serialism, indeterminacy, chance music, electronic music, music-theater, and others. An examination by genre will help the reader to better understand the explosion of creativity that produced such a unique and remarkable repertoire for instruments of percussion.
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Stillie, Bryden. "Learning and Performing with Drum Kit Technologies (Advanced)." In The Music Technology Cookbook, 51–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0010.

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The activities in this chapter are designed for undergraduates in their third year of drum kit studies who have developed advanced skills on the acoustic drum kit. This activity introduces students to the features and musical affordances of drum kit technologies. Students learn how to use percussion controllers and electronic drum triggers, in conjunction with music software they have experience of, to perform pieces of music in solo performance settings on hybrid, and fully electronic, drum kits. The three-stage approach includes: 1) exploring the built-in features of the percussion controller and associated music software, 2) using the controller in a familiar context, for example, to extend the possibilities of an acoustic drum kit in a hybrid setup, and, 3) creating a performance using only the technology (i.e., removing the familiar acoustic drum kit).
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Zalasiewicz, Jan. "Futures." In The Planet in a Pebble. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780199569700.003.0019.

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The pebble is on the beach, once more, unmarked by its brief contact with human sentience. Almost unmarked. The fingerprints that it lightly bears will, however, be washed away by the next tide. It has a long future, still, but probably not as a pebble—though quite how long it remains as a pebble may well depend on human action. Not on immediate, direct human action—whether it is scooped up by a digger and converted into concrete for a sea-front esplanade, for instance, or even collected as a souvenir by some passing tourist. Either of these fates should cause only a brief deflection from its long-term future (the esplanade is, after all, only a cliff to be attacked by the elements, while beach souvenirs are soon discarded). A larger perturbation of its trajectory more probably hinges on wider human effects—but more of that anon. We might assume, first, that nature runs its course. A pebble on a beach, its natural environment, is changing all the time. Not long ago, it was part of a slab of slate in a cliff, then it briefly became an angular chunk of rock, before the waves and water smoothed it down. They are still smoothing it, wearing away at it, making it smaller. Even the contact with human hands probably removed a grain or two. A pebble has the appearance of permanence, but it is not permanent. How long does it take to wear down a pebble? This can happen astonishingly quickly. Even over a single tide, being washed backwards and forwards by every incoming wave, a pebble can become detectably lighter—by less than one tenth of one per cent, admittedly, but that weight difference can easily be measured using modern electronic scales. Over a season, on an exposed part of the coast, a pebble can lose between a third and a half of its mass. The rates will vary—on a stormy day the banging of pebbles against each other can produce distinct percussion marks on their surfaces, while on a calm day the attrition rate will drop markedly. Night and day, though, the pebble is disintegrating.
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Siwe, Thomas. "Music-Theater." In Artful Noise, 118–35. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0009.

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In the late 1960s, a renewed focus on the theatrical aspects of musical performance merged with the political and social concerns of the times to create a new genre, music-theater. For percussionists, theatricality is inherent in the action used to play their instruments. Recognizing this, composers created works that incorporated various aspects of theater, designating these new compositions as mixed- or multimedia, intermedia, or music-theater. Examples of this genre are discussed in this chapter beginning with the works of the American maverick composer Harry Partch, who not only created the music, but also built the instruments used in his productions. The genre is defined further through a description of the works of composers Benjamin Johnston, Mauricio Kagel, Karlheinz Stockhausen, Jean-Pierre Drouet, and Michael Udow. Each percussion composition described is unique, incorporating theatrical components such as lighting, stage actions, improvisation, electronics, film, set design, and other elements.
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Nakai, You. "(Likeness to) Voices." In Reminded by the Instruments, 416–509. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.003.0009.

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The voice became a central concern for Tudor from the late 1970s onward. However, he appears to have understood this instrument as having a paradoxical nature in which appearance matters more than its physical nature. This is reflected in the fact that he turned away from his previous engagement with homemade electronics and no-input feedback, focusing instead on readymade recordings, commercial effect processors and speech/percussion synthesizers, to fabricate a virtual simulation of the voice revolving around the notion of “likeness to voices.” Detailed examination of actual instruments used in these pseudo-vocal music reveals a puzzling contradiction between what Tudor did and what he said he did. This discrepancy is further enhanced by the possibility that Tudor derived the idea of “likeness to voices” from an obscure paperback romance about witches disguised as housewives written by Mary Savage. These unexpected findings demand reflection on the author’s effort to solve the puzzle of David Tudor using the materials he deliberately left behind for posterity to find.
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"Light and Electron Microscopic Studies of Fluid-Percussion Brain Injury in Rats: Posttraumatic Temperature Considerations." In Recovery After Traumatic Brain Injury, 81–96. Psychology Press, 2014. http://dx.doi.org/10.4324/9781315806198-12.

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Conference papers on the topic "Electronic Percussion"

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Xiao, Yong, Fei Ning, Yuqin Wen, and Kai Sang. "Designing and Researching about A New Type of Mechanical-Electronic Percussion Equipment." In 2017 5th International Conference on Frontiers of Manufacturing Science and Measuring Technology (FMSMT 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/fmsmt-17.2017.220.

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Worland, Randy. "Electronic speckle pattern interferometry: Applications to the musical acoustics of percussion instruments." In 179th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001461.

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Schneider, M., L. Berthe, R. Fabbro, M. Muller, and M. Nivard. "Absorption in laser drilling in percussion regime." In 2007 European Conference on Lasers and Electro-Optics and the International Quantum Electronics Conference. IEEE, 2007. http://dx.doi.org/10.1109/cleoe-iqec.2007.4386664.

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Hu, Wenqian, Galen B. King, and Yung C. Shin. "Micromachining of Metals, Alloys and Ceramics by Picosecond Laser Ablation." In ASME 2008 International Manufacturing Science and Engineering Conference collocated with the 3rd JSME/ASME International Conference on Materials and Processing. ASMEDC, 2008. http://dx.doi.org/10.1115/msec_icmp2008-72247.

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Microhole drilling and microstructure machining with a picosecond (ps) Nd:YVO4 laser (pulse duration of 10 ps) in metals, alloys and ceramics are reported. Blind and through microholes were drilled by percussion drilling as well as trepanning drilling. The diameters of the holes were in the range from 20 μm to 1000 μm. Microfeatures were machined and the flexibility of ps laser machining was demonstrated. The quality of drilled holes, e.g., recast layer, microcrack and conicity, and that of the microstructures, were investigated by optical microscope, surface profilometer, or scanning electron microscope (SEM). Ps laser ablation rate was investigated by experiments as well as a simplified laser ablation model.
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Mezzapesa, F. P., A. Ancona, T. Sibillano, F. De Lucia, M. Dabbicco, P. M. Lugara, and G. Scamarcio. "Real-time in-situ measurement of the penetration depth in short pulse laser percussion drilling of metal targets." In 12th European Quantum Electronics Conference CLEO EUROPE/EQEC. IEEE, 2011. http://dx.doi.org/10.1109/cleoe.2011.5943359.

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Luo, Ren C., and Kai Chun Hsieh. "Tapping motion control of dynamic impulse-momentum contact to human body for robotic therapeutical percussive massage." In 2017 IEEE 26th International Symposium on Industrial Electronics (ISIE). IEEE, 2017. http://dx.doi.org/10.1109/isie.2017.8001405.

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