Dissertations / Theses: '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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Traldi, Cesar Adriano. "Percussão e interatividade PRISMA : um modelo de esçao instrumento auto-organizado." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283997.

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Orientador: Jonatas Manzolli
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T23:17:38Z (GMT). No. of bitstreams: 1 Traldi_CesarAdriano_D.pdf: 9145481 bytes, checksum: 4a080f2294a7413c9273c0cc5a467d66 (MD5) Previous issue date: 2009
Resumo: O desenvolvimento tecnológico contemporâneo potencializa a criação de modelos com o objetivo de estudar as possíveis correlações entre os estímulos e as sensações sonoras, visuais e espaciais. Muitos compositores já têm criado processos composicionais explorando estas dimensões, mas isso ainda é incipiente no desenvolvimento de uma nova postura interpretativa de instrumentistas que, normalmente, se apegam somente à especialização virtuosística e, muitas vezes, levando a uma dissociação entre música e outras linguagens artísticas. Assim, partimos do princípio que é possível descrever e estudar a estrutura de uma composição musical através de uma visão sistêmica como um processo no qual agentes desempenham diferentes funções dentro de um sistema. Refletimos sobre o conceito de auto-organização que é vinculado à possibilidade de emergência de padrões e regularidades que ocorrem nas relações estabelecidas entre os agentes de um sistema. O conceito de que a estrutura musical pode ser descrita como um sistema complexo é diretamente empregado no modelo desenvolvido nesta pesquisa. Para estudá-lo criamos um ambiente interativo computacional denominado PRISMA. A proposta conceitual do projeto é que os agentes do sistema se auto-organizam quando desenvolvem um comportamento interativo que molda e dirige suas ações em tempo real e que os influencia mutuamente. Verificamos como uma instalação criada a partir do conceito de auto-organização potencializa o desenvolvimento de uma nova postura interpretativa, o surgimento de organizações sonoras emergentes e, finalmente, a função da improvisação como veículo mediador de expectativas sonoras.
Abstract: The contemporary development in technology makes it possible to create models for studying the correlations between stimuli and auditory, visual and spatial sensations. Numerous composers have already created compositional processes to explore these dimensions, but this is still incipient in the context of theoretical studies in music performance. Performers normally adhere only to a superb specialization, and often, to the dissociation of music and other artistic forms. Thus, we assume that it is possible to describe and study the structure of a musical composition taken Systems Theory view. It is possible to understand music as a process in which different agents play different roles within a system. Here we study self-organization, that describes emergent properties in complex system and it is established among the information agents of a system. The concept that musical structure is a complex system is directly employed in the model developed in this research. For this purpose, we have created a computer-based interactive environment called PRISMA. The conceptual proposal of the project is that agents of the system will be self-organized when they develop a complex interactive process, shaping and directing their actions in real time, influencing and being influenced by other agents. Our study observed not only how the installation based on the concept of self-organization affords the development of performance studies, but also the creation of complex sound organizations, as well as the role of improvisation as mediator of sound expectations.
Doutorado
Mestre em Música

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Williams, Chace Tylor. "Delphinium." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1604065986419631.

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Chapman, Davis Howard. "Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501209/.

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Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.

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Smith, Jeffrey B. 1957. "Parallels in the Development of Electronic and Percussion Music and an Examination of Performance Problems in Lejaren Hiller's Machine Music for Piano, Percussion and Two-Channel Tape Recorder with Three Recitals of Selected Works of Rolnick, Kessner, Xenakis, Winsor, Niimi, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279115/.

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This study traces the significant developments in the late nineteenth and early twentieth centuries which led to the development of electronic music and increased writing for percussion. Whether by coincidence or premeditation, the field of percussion in Western culture and electronic music share many parallel aspects in their history. Carlos Chavez, Edgard Varese and John Cage foresaw a time when electronic music would allow composers to realize compositions with ease, provide new sounds to the spectrum of possible material for pieces and aid in the conception of works. Significantly, these same composers were important figures in the development of percussion composition. In many ways, Lejaren Hiller's Machine Music can be seen as a culmination of the developments which had been taking place in the history of electronic music and percussion music. A product of the innovations in both fields, it poses some formidable problems for the performers. This study will give some background into its composition, examine its structure and deal with its performance problems.

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Welch, Chapman. "Three Pieces for Musicians and Computer: Rameaux, Nature Morte, Moiré." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9723/.

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Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.

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Hession, Paul. "Augmenting percussion with electronics in improvised music performance." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/21918/.

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This commentary augments audio and video recordings that should be considered the essence of the study. The sound recordings comprise an original body of work that resulted from my interest in extending the possibilities of a standard drum set by augmenting it with electronics. It developed from an early interest in analogue, electroacoustic devices – such as the Dexion frames used by Tony Oxley and Paul Lytton to an engagement with digital electronics, specifically Max MSP, that was unknown to me at the outset of the study. The digital tools caused me to re-evaluate my thinking; to go beyond extending the sound-world at my disposal to engage with and consider artificial intelligence and the potential of creating a surrogate, software improviser with a degree of agency that challenged my thinking about human-computer interaction and confounded the issue of whether I was playing in a solo or duo setting. The commentary demonstrates the centrality of free improvisation to my approach and the recordings document my use of technologies, varying from the seemingly primitive (wooden beaters) to the apparently sophisticated (Max MSP) where I fully explore the affordances of each encounter.

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Stegall, Jermaine Edward. "Till Millennial Kingdom a composition for trumpet, three percussionists, and tape /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/stegall%5Fjermaine/index.htm.

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Gotlib, Jacob Rudy Paul. "The slow splintering for string quartet, percussion quartet, and electronics /." Diss., UMK access, 2008.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
"A thesis in music composition." Advisor: Paul Rudy. Typescript. Duration: 12:24. Vita. Includes performance notes. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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Augspurger, Christine Anne. "Transience: An Album-Length Recording for Solo Percussion and Electronics." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/4802.

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Suzuki, Kotoka. "Yôei : for six percussion, cd and a dancer /." May be available electronically:, 1999. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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D.M.A. final project--Department of Music, Stanford University, 1999.
For six percussionists, dancer and compact disc of computer-generated sounds. "... a dancer ... triggers and controls the electronic sounds in real-time using the five electric sensors that are attached to his/her body. All the computer generated sound sources derive from the sounds of the percussion instruments used in this piece, and similarly, the percussion often imitates the sound of the computer-generated sound of the cd and the dancer"--P. iv. Includes instructions for performance.

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Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.

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Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.

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Johansen, Benjamin David. "Relent: a Composition for Alto Saxophone, Double Bass, Two Percussion, and Interactive Electronics." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115100/.

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relent is a sacred work within the genre of interactive electronic music. the 20-minute composition is a multi-movement piece for four instrumentalists (saxophone, double bass, and two percussion) and computer that is inspired by the gospel message. relent is specifically about the gospel message that Christ died for man’s sins, rose from the dead, and through faith in him man can be reconciled to God. This project was an experiment in creating a work with a programmatic extramusical structure. in preparation for writing a piece based on Christian programmatic content, this paper presents an overview of research conducted on the intersection between art and Christianity referencing authors such as Harold Best, Nikolai Berdyaev, Hans Rookmaaker, Calvin Seerveld, Daniel Seidell, A. W. Tozer, Steve Turner, and Cornelius Van Til. This work was an experiment in trying to make very direct and specific musical ties to the narrative of the Gospel. Another highly experimental aspect of relent was in the way interactive electronics were used. Each acoustic instrument in the work has its own input and module within the Max patch, extending each acoustic instrument rather than adding an electronic accompaniment component. Additionally, non-traditional notation, both codified and real-time computer generated, improvisation, theatrical instructions, and a completely computer generated movement makes relent a piece that challenges and pushes the boundaries of current interactive electronic music.

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Gedosh, David Mallory. "Augeries for flute clarinet, percussion and tape, aesthetic discussion and theoretical analysis /." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9851.

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A multi-channel electro-acoustic composition for flute, clarinet, percussion (2 players), and tape. Includes pre-recorded audio and live processing. System requirements: Adobe Acrobat Reader. Includes performance notes. Includes bibliographical references (p. 56-58).

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Sears, Brian Carl. "Beneath the Universal Strife, The Hidden Harmony in All Things." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1453291367.

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Gedosh, David. "Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9851/.

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Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, are used to contextualize these notions, through a description of the various consciousness structures with specific attention to the space-time relationships. Of specific concern are the aperspectival manifestations in music in the twentieth century and beyond. Special emphasis is given to the area of electro-acoustic music, particularly spectral music. The theoretical analysis explores how the various techniques are used to create an aperspectival experience, and includes specific descriptions of the technique of refraction as metonymy, and pitch set analysis of the technique of expansion and contraction.

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Phillips, Nathaniel Tull. "Horologium du Futur past /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9963667.

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Thesis (Ph. D.--Music)--University of California, San Diego.
Vita. For flute, violin, clarinet, violoncello, piano, percussion, and tape. Includes program notes and performance instructions preceding score.

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Brodack, Cory Michael. "Human Becoming." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615923746675136.

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Bolles, Marita. "What exit /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049669.

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Wheeler, Robinson Andrew. "The brief nature of the wind, the flower of the air : Elliott Carter's "Allegro Scorrevole" for orchestra and Caeli, for two sopranos, two electric guitars, two percussion, and electronics /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.

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Hoose, Shane. "Correspondances." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1237663289.

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Molnar, Delanie. "Breaking In Torrent ⸺." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616069974460694.

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Bragança, Breno Gervásio. "Preparação e performance de obras para percussão e mediação tecnológica: questões e relações entre o percussionista e a eletrônica em tempo real." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7567.

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This research is divided in two parts: (1) Artistic Production and (2) Article. The first part presents the repertoire and programs notes of pieces chosen for two recitals needed for the conclusion of the research - the first on July fifteen, two thousand sixteen at seven p.m, and the second on March thirty-one, two thousand sixteen at twelve p.m - and other concerts and performances related to the research. The second part propose to approach issues related to the preparation and performance of pieces for percussion and technological mediation, with emphasis in the relationship between the percussionist and the live electronics, starting from preparation and performance of two chosen pieces, namely, `Vibraphone and Electronics' (2012), from Baljinder Sekhon and `SprachSchlag' (2000), from Hans Tutschku. Practical issues, both of relationship between percussionist and electronics as between the percussionist and the instrumental part will be addressed. We also discuss some conceptual issues of the performance, not only the referenced pieces per si, but the repertoire for percussion and live electronics raise. We conclude that the preparation and performance of the chosen works offered challenges regarding both instrumental performance and electronic mediation, but they provided interesting and valid aesthetic experiences and proved to be a response to the technology and society of our time. The historical parallels between the classical western percussion and electronic music, such as aesthetic interest and mutual important composers, jointly with the learning of new techniques and the handling of different instruments and objects present in the canonical repertoire of the percussion are of great value to the musician who works with the repertoire with electronics, which leaves the percussionist in a position of privilege, where some of the skills developed in his metier are also shared with the metier of electronic music.
A pesquisa é dividida em duas partes: (1) Produção Artística e (2) Artigo. A primeira parte apresenta o repertório e notas de programas das obras escolhidas para os dois recitais necessários à conclusão da pesquisa - o primeiro realizado no dia vinte e cinto de Junho de dois mil e dezesseis às dezenove horas e o segundo realizado no dia trinta e um de Março de dois mil e dezessete às doze horas - e demais concertos e performances relacionadas à pesquisa. A segunda parte propõe abordar questões referentes à preparação e performance de obras para percussão e mediação tecnológica, com ênfase na relação entre o percussionista e a eletrônica em tempo real, a partir da preparação e performance de duas obras escolhidas, a saber: Vibraphone and Electronics (2012), do compositor Baljinder Sekhon e SprachSchlag (2000), do compositor Hans Tutschku. Questões de caráter prático tanto da relação do percussionista com a eletrônica quanto com a parte instrumental são abordados. Discutimos também algumas questões conceituais que a performance, não só das obras referenciadas acima, mas do repertório para percussão e eletrônica em tempo real levanta. Concluímos que a preparação e performance das obras escolhidas ofereceram desafios referentes, tanto à performance instrumental quanto à mediação eletrônica, porém proporcionaram experiências estéticas interessantes e válidas e se mostraram como uma resposta à tecnologia e à sociedade de nosso tempo. Os paralelos históricos entre a percussão erudita ocidental e a música eletrônica, tais como interesses estéticos e compositores importantes comuns, juntamente como o aprendizado de novas técnicas e o manuseio de diferentes instrumentos e objetos presentes no repertório canônico da percussão são de grande valia ao músico que trabalha com o repertório com eletrônica, o que deixa o percussionista em uma posição de privilégio, onde algumas habilidades desenvolvidas em seu métier são compartilhadas também com o métier da música eletrônica.

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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.
CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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Damann, Benjamin A. "herbstlied." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615589042543498.

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Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

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Tindale, Adam. "Advancing the art of electronic percussion." Thesis, 2009. http://hdl.handle.net/1828/2020.

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The goal of this project is to create a new instrument: the E-Drumset. This new interface addresses the lack of expressivity in current electronic percussion devices. The project combines Electrical Engineering for implementing hardware and digital signal processing, Computer Science for implementing musical and mapping software, and Music to devise new playing techniques and ways to combine them into a pedagogy and language of transmission. Like an acoustic drumset, the E-Drumset consists of different components that can be arranged together as a whole. An acoustic drumset can be thought of as a collection of pedals, drums and cymbals. The E-Drumset consists of the E-Pedal, E-Drum and E-Cymbal. The technology utilized in the E-Drumset includes sensor technologies with newly developed technologies such as acoustically excited physical models and timbre-recognition based instruments. These new technologies are discussed and applied to situations beyond the E-Drumset. Just building a new controller is not enough. It needs to be thoroughly tested in musical situations and to take into account feedback from musicians (both the player and other members of the ensemble) during the evaluation of the instrument. Clear and attainable technical guidelines have not been devised for the E-Drumset. In the case of the radiodrum, a spatial controller, improvements can be summarized to be better resolution in space and time. In the case of the E-Drumset the goal is to offer a flexible interface to percussionists where electronic drums are often the bottleneck in bandwidth. There is no clear answer to questions such as how low the latency needs to be to satisfy a drummer; an issue that will be explored through the project. The goals of the project are to provide the percussionist with an interface that they may sit down and use existing skills. Utilizing the great variety of gesture available to the expert, the E-Drumset allows the percussionist to explore all manners of controllers between acoustic instruments and electronic. To provide a smoother transition to the E-Drumset, notation and exercises for E-Drumset specific gestures and techniques was devised. The E-Drumset is a new instrument. Most new interfaces are derived to help lesser players achieve virtuosic ends, while other projects make a controller that is massively configurable where a more static instrument is appropriate. This project provides insight into the theory and practice of new musical interfaces while delivering novel forms of synthesis and gesture recognition appropriate for the E-Drumset.

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"Performer and Electronic-Activated Acoustics: Three New Works for Solo Percussion and Live Electronics." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.36396.

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abstract: Technological advancements in computers and audio software and hardware devices in the twenty-first century have led to the expansion of possibilities for music composition, including works for acoustic instruments and live electronics. Electroacoustic composition is rapidly and continually evolving, and much that has been written about compositional techniques for percussion and live electronics is becoming outdated. Live electronics include performer-triggered events, audio processing, electronic responses to various inputs, and electronic decision-making during live performances. These techniques can be employed in a variety of ways. This project sheds light on how modern composers of different musical and cultural backgrounds reimagine the use of percussion through the lens of new technologies. Through the commission, examination, and recording of three new works for solo percussion and live electronics, the author seeks to further explore and highlight electroacoustic compositional techniques for solo percussion. A specific compositional element to be included in these commissioned works is the activation or manipulation of the acoustic properties of percussion instruments by electronic components. The three artists who contributed works are percussionist-composer Jeremy Muller, composer and multimedia artist Jordan Munson, and composer, sound artist, and performer Garth Paine. The creativity demonstrated in their previous works made them desirable candidates for this project. Each of them approached their composition in different ways. In Hysteresis, Muller utilizes a loudspeaker underneath a vibraphone to expand the sound palette of the instrument with microtonal electronic sounds that match the instrument’s timbre. In Where Light Escapes You, Jordan Munson layers various electronic sounds with the vibraphone to create a slowly evolving texture that also incorporates a bass drum and the buzzing of snare drums. In Resonant Textures, Paine spatializes vibraphone, cymbal, and electronic sounds to create a meditative and immersive listening experience. Ultimately, each of the three composers implemented distinctive compositional and performance tools to create new works that provide a glimpse into the future of percussion music.
Dissertation/Thesis
Hysteresis recording
Where Light Escapes You recording
Resonant Textures recording
Doctoral Dissertation Music 2015

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Mills, John Anderson 1970. "Human-based percussion and self-similarity detection in electroacoustic music." 2008. http://hdl.handle.net/2152/17881.

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Electroacoustic music is music that uses electronic technology for the compositional manipulation of sound, and is a unique genre of music for many reasons. Analyzing electroacoustic music requires special measures, some of which are integrated into the design of a preliminary percussion analysis tool set for electroacoustic music. This tool set is designed to incorporate the human processing of music and sound. Models of the human auditory periphery are used as a front end to the analysis algorithms. The audio properties of percussivity and self-similarity are chosen as the focus because these properties are computable and informative. A collection of human judgments about percussion was undertaken to acquire clearly specified, sound-event dimensions that humans use as a percussive cue. A total of 29 participants was asked to make judgments about the percussivity of 360 pairs of synthesized snare-drum sounds. The grouped results indicate that of the dimensions tested rise time is the strongest cue for percussivity. String resonance also has a strong effect, but because of the complex nature of string resonance, it is not a fundamental dimension of a sound event. Gross spectral filtering also has an effect on the judgment of percussivity but the effect is weaker than for rise time and string resonance. Gross spectral filtering also has less effect when the stronger cue of rise time is modified simultaneously. A percussivity-profile algorithm (PPA) is designed to identify those instants in pieces of music that humans also would identify as percussive. The PPA is implemented using a time-domain, channel-based approach and psychoacoustic models. The input parameters are tuned to maximize performance at matching participants’ choices in the percussion-judgment collection. After the PPA is tuned, the PPA then is used to analyze pieces of electroacoustic music. Real electroacoustic music introduces new challenges for the PPA, though those same challenges might affect human judgment as well. A similarity matrix is combined with the PPA in order to find self-similarity in the percussive sounds of electroacoustic music. This percussive similarity matrix is then used to identify structural characteristics in two pieces of electroacoustic music.
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Ramires, António Filipe Santana. "Automatic transcription of vocalized percussion." Dissertação, 2017. https://repositorio-aberto.up.pt/handle/10216/105309.

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The purpose of this project is to create an application that enables producers to use their voice to create drum patterns. In order to achieve this, a Max for Live device capable of automatically transcribing vocalised percussion will be created and an annotated dataset of vocalised drum kits will be presented. Firstly, a general device trained with the dataset will be developed, followed by a user-specific device that will select the most relevant features to be used for the user vocalisations. This will be done using the sequential forward selection method to adapt extracted features to users and different drum types. Finally, user tests will be conducted in order to compare the efficiency of our proposed application relative to the existing drum transcription tools available in digital audio workstations.

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Ramires, António Filipe Santana. "Automatic transcription of vocalized percussion." Master's thesis, 2017. https://repositorio-aberto.up.pt/handle/10216/105309.

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The purpose of this project is to create an application that enables producers to use their voice to create drum patterns. In order to achieve this, a Max for Live device capable of automatically transcribing vocalised percussion will be created and an annotated dataset of vocalised drum kits will be presented. Firstly, a general device trained with the dataset will be developed, followed by a user-specific device that will select the most relevant features to be used for the user vocalisations. This will be done using the sequential forward selection method to adapt extracted features to users and different drum types. Finally, user tests will be conducted in order to compare the efficiency of our proposed application relative to the existing drum transcription tools available in digital audio workstations.

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Greene, Ethan Frederick. "Triptych for flute, clarinet, baritone saxophone, percussion and live electronics." Thesis, 2013. http://hdl.handle.net/2152/23476.

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Triptych is a thirty-minute work in three movements for flute, clarinet, baritone saxophone, percussion and live electronics. Rhythmically intricate musical “tessellations” are juxtaposed with long, evolving drones amidst an electronic backdrop of environmental found sound, granular clouds, procedurally generated rhythmic sequences, and simple oscillators. The piece examines conceptions of pattern, pitch and period in the environment, highlighting the musical elements and structures of creatures and machines – the “almost-human” musical beings all around us. Each “panel” of the triptych is designed to work effectively as either a part of the larger work, or as its own, autonomous piece of music. The electronics are designed to maximize performability and improvisatory flexibility in the ensemble. All processing and cueing is coded in Max/MSP. Triptych was commissioned by the Fountain City Ensemble, and will be premiered in March, 2014.
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Hou, Wen-Hsuan, and 侯彣璇. "The Development and Influence of Electronic Music in Percussion Since 1950～2010." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/44231138676981403119.

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碩士
輔仁大學
音樂研究所
99
This thesis discusses the changes of electronic music and their impacts upon the application of percussion in the course of the development of electronic music. Does percussion have to change to meet electronic music? Are the traditional techniques of percussion able to keep abreast of the development of electronic music? What is special about this new combination of electronic music and percussion? Will this combination be a trend? Or, will it be just a sparkle, die out, and then regenerate from its combination with other arts? All the above are what this thesis attempts to deal with. The data examined in this thesis are mainly focused on the works of a combination of electronic music and percussion. There are four sections in this thesis. The first chapter begins with the instruments of percussion in terms of acoustic theories and materials. The second one introduces the development of electronic music. The third one analyzes the styles and the ideas behind the works. The final one concludes and speculates the future development of the combination of electronic music and percussion.

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Weng, Ying-Han, and 翁映涵. "An Analysis and Interpretation of《Time and Money》for percussion, video and electronic, 2006 by Pierre Jodlowski." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/s93vvj.

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Trail, Shawn. "Non-invasive gesture sensing, physical modeling, machine learning and acoustic actuation for pitched percussion." Thesis, 2018. https://dspace.library.uvic.ca//handle/1828/9345.

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This thesis explores the design and development of digitally extended, electro- acoustic (EA) pitched percussion instruments, and their use in novel, multi-media performance contexts. The proposed techniques address the lack of expressivity in existing EA pitched percussion systems. The research is interdisciplinary in na- ture, combining Computer Science and Music to form a type of musical human- computer interaction (HCI) in which novel playing techniques are integrated in perfor- mances. Supporting areas include Electrical Engineering- design of custom hardware circuits/DSP; and Mechanical Engineering- design/fabrication of new instruments. The contributions can be grouped into three major themes: 1) non-invasive gesture recognition using sensors and machine learning, 2) acoustically-excited physical mod- els, 3) timbre-recognition software used to trigger idiomatic acoustic actuation. In addition to pitched percussion, which is the main focus of the thesis, application of these ideas to other music contexts is also discussed.
Graduate

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Snowden, Steven 1981. "Long distance : for solo percussion, wind ensemble, and electronics." Thesis, 2014. http://hdl.handle.net/2152/25254.

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Long Distance is a work for solo percussion (marimba and vibraphone), wind ensemble, and electronics consisting of four movements and lasting approximately twenty minutes. Each movement is designed to be able to stand on its own and, when multiple movements are performed, their order is flexible. A version of this piece with no wind ensemble also exists and was commissioned by a consortium of 33 percussionists. From its inception, this solo version was composed with the possibility of expansion to a larger instrumentation in mind. In this paper, I will discuss and analyze many of the factors and influences involved in my composition process for this piece. This will include performance techniques, extracting and utilizing musical material from field recordings, audio processing techniques, orchestration, drawing musical inspiration from non-musical sources, and stylistic juxtaposition. In addition, I will provide some background on how this commission came about and how composition as a collaborative process shaped this piece especially in the context of working with such a large and diverse consortium.
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Banks, Rusty Kubík Ladislav. "Jasper chamber music for vocalise, percussion, violoncello and sound file /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-09172003-160832/.

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Thesis (M.M.) -- Florida State University, 2003.
Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-27-04). Document formatted into pages; contains 31 pages. Includes biographical sketch.

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HSIEH, HSIEN-TE, and 謝賢德. "An Analysis and Interpretation of 《Crossing》for multiple percussions and electronic, 2015 Tseng, Yu-Chung." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/5j6459.

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Davis, D. Edward. "Nowhere Landscape, for Clarinets, Trombones, Percussion, Violins, and Electronics and “The Map and the Territory: Documenting David Dunn’s Sky Drift”." Diss., 2016. http://hdl.handle.net/10161/12134.

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1. nowhere landscape, for clarinets, trombones, percussion, violins, and electronics

nowhere landscape is an eighty-minute work for nine performers, composed of acoustic and electronic sounds. Its fifteen movements invoke a variety of listening strategies, using slow change, stasis, layering, coincidence, and silence to draw attention to the sonic effects of the environment—inside the concert hall as well as the world outside of it. The work incorporates a unique stage set-up: the audience sits in close proximity to the instruments, facing in one of four different directions, while the musicians play from a number of constantly-shifting locations, including in front of, next to, and behind the audience.

Much of nowhere landscape’s material is derived from a collection of field recordings

made by the composer during a road trip from Springfield, MA to Douglas, WY along US- 20, a cross-country route made effectively obsolete by the completion of I-90 in the mid- 20th century. In an homage to artist Ed Ruscha’s 1963 book Twentysix Gasoline Stations, the composer made twenty-six recordings at gas stations along US-20. Many of the movements of nowhere landscape examine the musical potential of these captured soundscapes: familiar and anonymous, yet filled with poignancy and poetic possibility.

2. “The Map and the Territory: Documenting David Dunn’s Sky Drift”

In 1977, David Dunn recruited twenty-six musicians to play his work Sky Drift in the

Anza-Borrego Desert in Southern California. This outdoor performance was documented with photos and recorded with four stationary microphones to tape. A year later, Dunn presented the work in New York City as a “performance/documentation,” playing back the audio recording and projecting slides. In this paper I examine the consequences of this kind of act: what does it mean for a recording of an outdoor work to be shared at an indoor concert event? Can such a complex and interactive experience be successfully flattened into some kind of re-playable documentation? What can a recording capture and what must it exclude?

This paper engages with these questions as they relate to David Dunn’s Sky Drift and to similar works by Karlheinz Stockhausen and John Luther Adams. These case-studies demonstrate different solutions to the difficulty of documenting outdoor performances. Because this music is often heard from a variety of equally-valid perspectives—and because any single microphone only captures sound from one of these perspectives—the physical set-up of these kind of pieces complicate what it means to even “hear the music” at all. To this end, I discuss issues around the “work itself” and “aura” as well as “transparency” and “liveness” in recorded sound, bringing in thoughts and ideas from Walter Benjamin, Howard Becker, Joshua Glasgow, and others. In addition, the artist Robert Irwin and the composer Barry Truax have written about the conceptual distinctions between “the work” and “not- the-work”; these distinctions are complicated by documentation and recording. Without the context, the being-there, the music is stripped of much of its ability to communicate meaning.

Dissertation

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Dissertations / Theses on the topic 'Electronic Percussion'

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