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Relevant bibliographies by topics / Percussion

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Academic literature on the topic 'Percussion'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Percussion"

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Smolentsev, Alexander, and Alexander Primichkin. "EXPERIMENTAL STUDY OF IMPACT OF PERCUSSIVE PULSE FORM ON SINKING PROCESS OF HOLLOW ROD ELEMENTS INTO SOILS." Interexpo GEO-Siberia 2, no. 5 (2019): 32–39. http://dx.doi.org/10.33764/2618-981x-2019-2-5-32-39.

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The work has experimental nature and it is aimed to development of vibro-percussion method of pipe-cover sinking during trenchless constructions of underground utilities. The maid idea of the research is the determination of regularities of filling inner tube hollow by soil at different forms of percussive pulse. Theoretical dependences of impact of percussion energy structure (form of percussion pulse) on efficiency of hollow rod element advance in the solid at different stages of insertion. Dimensionless parameter – filling coefficient is used for quantitative evaluation of filling rate by soil. Influence of pipe diameter on incrementation of length of soil core-sample for different percussive machines with the same percussive energy is shown. Stand and method of field test operation at various soil condition and interpretation of obtained data and its comparison with previous results obtained by the authors of the work and foreign researchers are represented.

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Tambovtsev, Pavel. "JUSTIFING OF PARAMETERS OF PNEUMOPERCUSSION MACHINE FOR FORMATION MAIN CRACKS FROM HOLE OF NATURAL STONE." Interexpo GEO-Siberia 2, no. 5 (2019): 50–56. http://dx.doi.org/10.33764/2618-981x-2019-2-5-50-56.

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In the work, issues of development of percussive machine for directed destruction of stone rocks are considered. The percussive machine impacts to rock destructive tool implemented into the hole, after that rock wedging and growth of main crack along blast-hole line occur. For that purpose, pneumatic machine of percussion action and gravitational type is chosen. Scheme of the machine is justified based on dynamic simulation of its key assembly units, numerical analysis of constructive and energetic parameters is carried out. Working cycle of the device has been estimated by energy value, percussion frequency, compressed air discharge. It is established that working cycle of gravitational pneumo-percussion machine with elastic valve provides economy of compressed air discharge and high energy of the strike. Results of numerical simulation are proved by experimental data of Institute of Mining.

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Plokhikh, Vadim V., Boris B. Danilov, and Dmitry O. Cheshchin. "DYNAMICS AND OPERATING CYCLES OF VIBRATORY-PERCUSSIVE SYSTEMS INVOLVED IN IMPLEMENTATION OF ADAPTIVE TECHNOLOGIES." Interexpo GEO-Siberia 2, no. 4 (May 21, 2021): 67–77. http://dx.doi.org/10.33764/2618-981x-2021-2-4-67-77.

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The study discusses serviceability of pneumatic and hydraulic percussion machines within robotic drilling systems. The newly designed action charts of percussion machines allow varying flow data of the machines versus properties of the medium being treated, which enables technological adaptability of the machines. Simulation modeling of the operating cycle dynamics in ITI SimulationX made it possible to determine dynamic parameters of vibratory-percussive systems. The research findings prove designability of such machines.

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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.

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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.

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Vidakis, Nectarios, Markos Petousis, Athena Maniadi, and Emmanuel Arapis. "Development and Fabrication of an Innovative Smart Tool to Monitor the Impact Carving Process on Brittle Stones and Marble." Electronics 11, no. 1 (December 22, 2021): 12. http://dx.doi.org/10.3390/electronics11010012.

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The art of sculpting is related to the processing of brittle materials, such as granite, marble, and stone, and is implemented using percussive hand tools or rotational roughing tools. The outcome of percussion carving is still directly related to the technique, experience, and capacity of the sculptor. Any attempt to automate the art of sculpturing is exhausted in the subtraction method of brittle materials using a rotating tool. In the process of percussion carving, there is no equivalent expertise. In this work, we present the design, manufacturing (3D printing and CNC machining), and use of a smart, percussion carving tool, either manually by the hand of a sculptor, adjusted in a percussive pneumatic hammer, or guided by a digitally driven machine. The scope is to measure and record the technological variables and sizes that describe and document the carving process through the sensors and electronic devices that the smart tool incorporates, the development and programming of which was implemented for the purposes of this work. The smart carving tool was meticulously tested in various carving stones and stressing scenarios to test the functionality and efficacy of the tool. All the tests were successfully implemented according to the specifications set.

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Zidulka, A., J. F. Chrome, D. W. Wight, S. Burnett, L. Bonnier, and R. Fraser. "Clapping or percussion causes atelectasis in dogs and influences gas exchange." Journal of Applied Physiology 66, no. 6 (June 1, 1989): 2833–38. http://dx.doi.org/10.1152/jappl.1989.66.6.2833.

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We examined the effects of 10 min of lower lateral chest wall percussion with a mechanical percussor or hand clapping in groups of anesthetized, paralyzed, and ventilated supine dogs. Mechanical percussion was applied at 10–16 Hz and caused an esophageal pressure swing (delta Pes) of 10–17 cmH2O. Hand clapping was applied at 4–7 Hz and caused a delta Pes of 6–17 cmH2O. At necropsy there were large reddened areas on the lateral surface of the underlying lung as well as smaller reddened areas on the hilar surfaces of both lungs and on the lateral surface of the opposite lung. These reddened regions were demonstrated to be atelectatic by postmortem lung inflation (which caused the reddened areas to disappear) and by microscopic examination. Despite the atelectasis, gas exchange improved toward the end of the percussion or clapping period. In four dogs that were ventilated for an additional 20 min after percussion, there was a tendency for gas exchange initially to worsen and then to gradually improve.

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Bessell, David. "Dynamic Convolution Modeling, a Hybrid Synthesis Strategy." Computer Music Journal 37, no. 1 (March 2013): 44–51. http://dx.doi.org/10.1162/comj_a_00159.

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This article outlines a hybrid approach to the synthesis of percussion sounds. The synthesis method described here combines techniques and concepts from physical modeling and convolution to produce audio synthesis of percussive instruments. This synthesis method not only achieves a high degree of realism in comparison with audio samples but also retains some of the flexibility associated with waveguide physical models. When the results are analyzed, the method exhibits some interesting detailed spectral features that have some aspects in common with the behavior of acoustic percussion instruments. In addition to outlining the synthesis process, the article discusses some of the more creative possibilities inherent in this approach, e.g., the use and free combination of excitation and resonance sources from beyond the realms of the purely percussive examples given.

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Mertayasa, Kadek Teddy, and Kadek Suartaya. "Ghumi Uttara: A New Music Creation | Ghumi Uttara: Sebuah Karya Musik Baru." GHURNITA: Jurnal Seni Karawitan 2, no. 4 (December 15, 2022): 275–81. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1168.

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Karya musik tabuh kreasi “Ghumi Uttara mengangkat ide penciptaan yang lahir dari pengalaman pribadi penulis dalam memainkan tabuh-tabuh yang mengidentitaskan Kabupaten Buleleng. Karya ini menonjolkan pengolahan dari tabuh sekatian dan tabuh lelongoran yang berada di Kabupaten Buleleng. Adapun tujuannya untuk memberikan pesan bagi masyarakat bahwa tabuh sekatian dan tabuh lelongoran adalah tabuh yang mengidentitaskan Kabupaten Buleleng yang harus dilestarikan dan disebar luaskan. Metode yang digunakan dalam proses penciptaan karya musik tabuh kreasi “Ghumi Uttara”, adalah Metode Penciptaan Panca Sthiti Ngawi Sani dari I Wayan Dibia dalam bukunya Metodologi Penciptaan Seni, yang terdiri dari Tahap Inspirasi (ngewirasa), Tahap Esplorasi (Ngawacak), Tahap Konsepsi (Ngarencana), Tahap Eksekusi (Ngewangun) dan Tahap Produksi (Ngebah) dari kelima metode yang digunakan dalam proses penciptaan karya ini mampu menghasilkan sebuah karya musik tabuh kreasi yang menggunakan media ungkap Gamelan Gong Kebyar. Karya Ghumi Uttara memakai struktur tri angga, yaitu kawitan/awalan (bagaian I), pengawak/isi (bagaian II), pengecet/penutup (bagaian III), yang disetiap bagian memiliki suasana atau penggambaran yang berbeda, bagian I mengenalkan intrumen yang digunakan, pada bagian II mengambarkan tabuh sekatian pada bagian II ini juga terdapat motif tabuh sekatian dari sekatian bentuk lelambatan dan sekatian bentuk pengecet, sedangkan pada bagian III mengambarkan tabuh lelongoran pada bagian III ini terdapat tiga motif lelongoran. Terciptanya karya musik tabuh kreasi “Ghumi Uttara ini diharapkan dapat memberikan motivasi bagi generasi muda untu berkarya yang tidak hanya mengolah pola-pola tradisi tetapi yang mampu mengembangkan pola tradisi. The creation of percussion music “Ghumi Uttara” raises the idea of creation that was born from the author's personal experience in playing percussion which identifies Buleleng Regency. This work highlights the processing of the sekatian and lelongoran percussions in Buleleng Regency. The aim is to give a message to the public that the percussion of the Sekatian and the percussion of the Lelongoran are percussions that identify Buleleng Regency which must be preserved and disseminated widely. The method used in the process of creating the musical creation "Ghumi Uttara", is the Panca Sthiti Ngawi Sani creation method from I Wayan Dibia in his book The Art Creation Methodology, which consists of the Inspiration Stage (ngewirasa), the Exploration Stage (Ngawacak), the Conception Stage ( Ngarencana), the execution stage (Ngewangun) and the production stage (Ngebah) from the five methods used in the process of creating this work are able to produce a creation of percussion music using the media, said Gamelan Gong Kebyar. Ghumi Uttara's work uses a tri angga structure, namely kawitan/prefix (part I), pengawak/content (part II), pengecet/closing (part III), each of which has a different atmosphere or description, part I introduces the instruments used, in part II it depicts the Sekatian percussion in part II there is also a sekatian percussion motif from the sekatian form of lelongoran and sekatian form of pressing, while in part III it depicts the lelongoran percussion in this part III there are three lelongoran motifs. The creation of the creation of "Ghumi Uttara" percussion is expected to provide motivation for the younger generation to create works that not only cultivate traditional patterns but who are able to develop traditional patterns.

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Jones, Alice. "Percussion." Physiotherapy 77, no. 12 (December 1991): 817. http://dx.doi.org/10.1016/s0031-9406(10)61929-3.

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Miner, Valerie. "Percussion." Prairie Schooner 77, no. 3 (2003): 87–103. http://dx.doi.org/10.1353/psg.2003.0086.

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Dissertations / Theses on the topic "Percussion"

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Drege, Lance M. "The University of Oklahoma Percussion Ensemble Commissioning Series and Percussion Press, 1978-1999 : an examination of its history /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 2000.

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Olson, Lawrence Gerard. "Percussion recital." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27381.

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Cudd, Patti J. Madsen Pamela Phillips Nathaniel. "A percussion module /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9839493.

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Thesis (D.M.A.--Music)--University of California, San Diego, 1998.
Dissertation consists of an analysis of four pieces for solo percussion: The king of Denmark by Morton Feldman; 27'10.554" by John Cage; The red shoes by Pamela Madsen; and Four passions by Nathaniel Phillips, as well as a recording of the corresponding percussion recital. Vita. Includes the scores to two works for solo percussionist commissioned for this dissertation recital: The red shoes by Pamela Madsen and Four passions by Nathaniel Phillips. Videocassette is sound only in Beta format. Recital performed on May 5, 1997 at UCSD. Includes bibliographical references.

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Hernly, Patrick Michael. "World Percussion Approaches in Collegiate Percussion Programs: A Mixed-methods Study." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4070.

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As world percussion has grown in popularity in American colleges and universities, two main problems have emerged. The first problem is that no known source exists detailing how percussion instructors have incorporated world percussion into their collegiate teaching. A review of the literature has highlighted four main approaches to incorporating world percussion in collegiate percussion programs: applied study, group performance, travel experiences, and guest expert visits. The second problem is that systematic research on world percussion traditions has been carried out much more often by music education researchers, anthropologists, and ethnomusicologists than by percussionist-performers, so the relationship between theory and reality regarding the teaching of world percussion by collegiate percussion instructors is called into question. Via an exploratory mixed-methods design, this dissertation investigated the practical approaches most commonly utilized by percussion instructors to teach world percussion in their collegiate percussion programs, as well as the practical and philosophical reasons behind their decisions. Questionnaires were distributed to 1,032 collegiate percussion instructors in the United States with 518 respondents (N=518); descriptive statistics were utilized to determine the relative popularity of the four main approaches mentioned in the percussion literature. Interviews were conducted with collegiate world percussion instructors (N = 11), selected via stratified random sampling, regarding their practical and philosophical approaches to teaching world percussion. Content coding of interview data was utilized to search for emergent themes and meta-themes. Findings regarding the instructors' practical approaches toward the incorporation of world percussion in their programs included decisions about what world percussion instruments and styles to present, settings in which to present them, when to present world percussion and how much world percussion to include in relation to core areas, and breadth versus depth of world percussion. Findings regarding instructors' philosophical orientations included rationales for world percussion and issues of authenticity. Conclusions include that instructors' main rationales for incorporating world percussion into their programs were musical well-roundedness and employability as performers and educators, while understanding authentic musical processes in cultural context was also an important dimension. Implications were also discussed, and suggestions for further research were also included.

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Aimi, Roberto Mario 1973. "New expressive percussion instruments." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/30973.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (leaves 82-86).
This thesis presents several new percussion instruments that explore the ideas of musical networks; playing, recording, and developing musical material; continuous control over rhythm and timbre; pressure sensing; and electronic / acoustic hybrids. These instruments use the tools of electronics and computation to extend the role of percussion by creating new ways for people to play percussion alone, together, and in remote locations. Two projects are presented in detail. The Beatbugs are a system of eight hand-held networked instruments that are designed to let children enter simple rhythmic motifs and send those motifs to be developed further by the other players. Results from three workshops and performances are discussed. Preliminary results are also presented for the Remote Drum Network, a system that lets people play drums together over the internet even in high latency situations by synchronizing their audio streams and delaying them to match each player's next phrase.
by Roberto Mario Aimi.
S.M.

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Lierdeman, Philippe. "Pliages : for percussion sextet /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9728769.

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Hepfer, Jonathan David. "Thoughts on contemporary percussion." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1467909.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from 1st page of PDF file (viewed Sept. 16, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains sound files of the thesis recital in 44K stereo. and 96K formats. Includes bibliographical references: P. 15.

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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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Stewart, Jesse. "Recent works for solo percussion." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ56206.pdf.

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Brink, Margaret. "The piano as percussion instrument /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11272.

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Books on the topic "Percussion"

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Lillegard, Dee. Percussion. Chicago: Childrens Press, 1987.

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Shipton, Alyn. Percussion. Oxford: Heinemann, 1993.

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Shipton, Alyn. Percussion. Austin, Tex: Raintree Steck-Vaughn, 1994.

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Sharma, Elizabeth. Percussion. New York: Thomson Learning, 1993.

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Nunn, Daniel. Percussion. Chicago: Heinemann Library, 2012.

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Knight, M. J. Percussion. London: Franklin Watts, 2006.

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Turner, Barrie Carson. Percussion. Mankato, Minn: Smart Apple Media, 1998.

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Verney, Jay. Percussion. St. Lucia, Qld: University of Queensland Press, 2004.

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Combs, F. Michael. Percussion manual. 2nd ed. Belmont,Calif: Wadsworth, 1995.

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Gary, Cook, ed. Teaching percussion. New York, NY: Schirmer, 1988.

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Book chapters on the topic "Percussion"

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Linaberry, Robin. "Percussion." In Strategies, Tips, And Activities for the Effective Band Director, 128–48. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003034193-7.

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O'Connell, Dennis G., Janelle K. O'Connell, and Martha R. Hinman. "Percussion." In Special Tests of the Cardiopulmonary, Vascular, and Gastrointestinal Systems, 70–73. Boca Raton: CRC Press, 2024. http://dx.doi.org/10.1201/9781003526506-25.

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Kennan, Kent, and Donald Grantham. "Percussion." In The Technique of Orchestration Workbook, 81–83. 7th ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003130697-7.

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Hartmann, William M. "Percussion Instruments." In Principles of Musical Acoustics, 269–77. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_26.

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Moravcsik, Michael J. "Percussion Instruments." In Musical Sound, 187–96. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_13.

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Talalay, Pavel G. "Percussion Drills." In Mechanical Ice Drilling Technology, 53–57. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0560-2_5.

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Rossing, Thomas D. "Percussion Instruments." In Encyclopedia of Acoustics, 1653–61. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2007. http://dx.doi.org/10.1002/9780470172544.ch135.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "Percussion Instruments." In The Teaching of Instrumental Music, 356–82. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-26.

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Kennan, Kent, and Donald Grantham. "The Percussion." In The Technique of Orchestration, 249–75. 7th ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003130680-14.

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Kennan, Kent, and Donald Grantham. "The Percussion." In The Technique of Orchestration, 226–48. 7th ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003130680-13.

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Conference papers on the topic "Percussion"

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Peltokangas, Suvi, Sirpa Launis, Markus Saarela, and Jouni Mattila. "Modeling and Simulation of a Hydraulic Drill for Control System Design Purposes." In ASME/BATH 2017 Symposium on Fluid Power and Motion Control. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/fpmc2017-4290.

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In rock excavation processes, hydraulic rotary-percussive drilling is used for drilling and blasting in both surface and underground drilling operations. A hydraulic percussive drilling system is composed of percussion, rotation, feed, and flushing functions. In this paper, we detail the interaction of feed and rotation functions using a rock model. The feed actuator is a cylinder drive and a hydraulic motor actuator rotates the drill bit. The feed is force controlled and rotation is torque controlled by a feed reduction valve acting on the pressure compensator of the mobile hydraulic proportional directional control valve. In addition, in this work an individual load sensing variable displacement pump is used for both hydraulic functions. A suitable rock model is developed and verified against a measurement set. The inputs of the rock model are percussion drill flow rate, percussion pressure, feed force, and rotation torque, and the outputs are drill bit penetration rate and rotational speed. The modeling work is carried out to enable intelligent rock drilling control system development for changing rock conditions. The simulation results obtained verify that the simple rock model emulates various rock characteristics ranging from extremely hard rock like granite to softer minerals and that the changes in drilling parameters were as expected.

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Jie, Degang, Peng Li, Qiquan Quan, Shengyuan Jiang, Xuyan Hou, Dewei Tang, and Zongquan Deng. "Optimization of percussive mechanism in rotary-percussion drill for lunar exploration." In 2013 IEEE International Conference on Robotics and Biomimetics (ROBIO). IEEE, 2013. http://dx.doi.org/10.1109/robio.2013.6739784.

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Ji, Ran, Huaizhong Shi, Zhaowei Sun, Han Chen, Chao Xiong, and Hengyu Song. "Characteristics of Conicl Diamond Tooth for Breaking Hard Rock Under Vibratory Percussion." In 57th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2023. http://dx.doi.org/10.56952/arma-2023-0637.

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ABSTRACT The application of conicl PDC teeth to vibratory percussion drilling technology is expected to break deep hard rock efficiently and improve drilling efficiency. In this paper, the characteristics of conicl diamond tooth cutting and hard rock under percussion are investigated. Firstly, experiments on percussion compression of conicl diamond tooth into the broken rock were carried out to analyse the percussion energy and the characteristics of rock crushing pits. Secondly, a numerical model of the cutting process of conicl diamond tooth under the vibratory percussion was established. Three stages of rock-breaking by conical tooth cutting under high frequency number percussion are analyzed. Stress peaks with percussion of 6 times increased by 36.8% and 25.5% compared with percussion of 0 times and percussion of 3 times. There is the highest point of rock-breaking efficiency between percussion of 3 times and 4 times. Cutting force with percussion amplitude of 1.5mm increased by 42.7% compared with percussion amplitude of 0mm. The rock-breaking specific energy with percussion amplitude of 1.5 mm increased by 32.4% compared with percussion amplitude of 0 mm. This study provides a theoretical basis for the use of conical tooth in PDC drill bits under percussion. INTRODUCTION In the oil and gas exploration and development industry, drilling cost accounts for a large proportion of the overall development cost. The application of efficient drilling technology directly affects the final benefit(Wang, 2003)i. The exploration and development of deep and ultra-deep wells has become the focus of current attention(Meiling et al., 2014)ii and conventional drilling methods are increasingly unable to meet the needs of efficient drilling. As the well depth increases, the hardness and plasticity of the rock increases and the drillability decreases, which also increases the difficulty of drilling in deep hard formations. How to improve ROP has become one of the key issues in drilling engineering technology research. Previous studies have shown that vibratory percussion drilling can significantly improve rock breaking efficiency in hard rock(Hustrulid, 1971;Li et al.,2020;Pavlovskaia et al.,2015)iii.

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Sun, Zhaowei, Xiaoguang Wu, Rui Yang, Zhongwei Huang, Huaizhong Shi, Zongjie Mu, and Huiyong Yu. "Numerical Analysis on Characteristics of Cracks and ROP Enhancement Performance in Hard Rocks Subjected to Axial-Torsional Coupled Percussion." In 57th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2023. http://dx.doi.org/10.56952/arma-2023-0347.

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ABSTRACT Axial-torsional coupled percussive drilling (ATCPD) is a practical technique for creating volumetric breaking patterns and increasing rate of penetration (ROP) of hard rocks. Our paper focus on numerical investigations on ATCPD process. We employed a continuous-discrete coupling method based on cohesive elements to characterize the rock failure subjected to different percussion (axial, torsional and coupled percussion). Based on this model, the penetration-cutting process of the single cutter at different percussion modes was simulated, respectively. The corresponding cracks characteristics, penetration/cutting force and torque were analyzed. Rock scratch experiments were further conducted on granites to validate the model. The results show that the complex cracks propagation zone and the larger tensile cracks around the cutter are developed subjected to coupled percussion, resulting in larger failure elements number and cracks volume. That is, more significant macro damage is thought to form in coupled percussion, thereby increasing the penetration and cutting force of single cutter. It is worth noting that the coupled percussion mode can also generate stable fluctuation torque, which improves the ROP enhancement performance. Our results are expected to provide some guidance for efficient drilling in hard rocks. INTRODUCTION Increasing oil, gas, and heat reserves in deep formations will be critical in addressing the worldwide energy supply (Santos et al., 2000; Moore and Simmons, 2013; Hu et al., 2013). The construction of wells to exploit deeper energy in more challenging environments requires large investments, which are mainly related to the involved drilling operations (Abdo and Haneef, 2013; Diaz et al., 2017). For example, the reliance on drilling costs is especially high in the development of enhanced geothermal system (EGS), primarily because this method of obtaining geothermal energy necessitates the challenge of drilling deep holes in hard crystalline basement rocks, such as granites (Song et al., 2018; Anderson and Rezaie, 2019). These limiting factors pose a major challenge to our traditional drilling technologies (e.g. rotary drilling), whose poor performance in hard rocks, in terms of wearing of the drill bits and low penetration rates (Diaz et al., 2017; Rossi et al., 2020). As a result, the development of drilling techniques to increase the ROP enhancement effect in deep reservoir hard rocks has attracted more and more interest in the engineering field.

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Draper, Ian, Tim Gill, Dmitry Lakshtanov, Jennie Cook, Yuliana Zapata, Robin Eve, Mark Lancaster, et al. "Solving the Challenge of Acquiring Low UCS Cores for Quantitative Digital Rock Physics." In 2022 SPWLA 63rd Annual Symposium. Society of Petrophysicists and Well Log Analysts, 2022. http://dx.doi.org/10.30632/spwla-2022-0120.

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Extensive operator experience obtaining rotary sidewall cores on wireline showed the recovery and quality dropped significantly in lower unconfined compressive strength (UCS) formations, making standard analysis results for petrophysical calibration unreliable. This paper discusses a series of physical tests used to quantify the quality and condition of cores obtained using a novel adaption of existing percussion sidewall coring (PSWC) using high-resolution X-ray micro-Computed Tomography (microCT) scan data. The methodology demonstrates how the combination of low technology percussions cores and high technology microCT scans can provide an efficient input into digital rock analysis for formation evaluation. Within defined UCS ranges the quality of the data can be higher than alternative methods. Several sandstones of known properties were first microCT-scanned and then percussion cored in a laboratory environment. PSWC barrels of traditional and novel designs were tested. A range of testing methods were used including sophisticated fixtures that applied hydrostatic pressure with constraining pressures and overbalance. The resulting sidewall cores were then microCT-scanned to evaluate the effects of the percussion test, the quality of the samples and to provide high-resolution images for digital rock analysis. Further information was obtained from finite element modelling, high-speed cameras and sensors to determine impact velocity and deceleration. This data was used to iterate improvements to the PSWC barrel design, modifying variables such as core diameter, sample length and barrel cutter profile. Around seventy-five different combinations of environment and barrel design were successfully acquired. This included repeatability tests and allowed conclusions to be made on the value of the data from different attributes obtained from the microCT scans. The testing allowed the barrel design to be optimized to reduce damage induced by the percussion coring process. Following the testing the range of UCS where this technique is practicable has been determined. Analysis of digital rock physics provides great benefits but requires representative samples as an input. In lower UCS formations acquiring sidewall cores can be challenging. Traditional percussion sidewall cores have long been considered of limited value, however with hardware modifications this paper demonstrates that they can provide high quality inputs into digital rock analysis for a defined range of lower and even moderate UCS formations. Acquiring percussion sidewall cores typically requires significantly less rig time per core than rotary sidewall coring making it practical to acquire a larger number of cores for a given cost.

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Kvistad, Garry. "Materials in percussion instruments." In 161st Meeting Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4865241.

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Burgess, David, and Elizabeth Mynatt. "3-D interactive percussion." In Conference companion. New York, New York, USA: ACM Press, 1994. http://dx.doi.org/10.1145/259963.260014.

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Suarez Guarnizo, Edgar Andres, and Luis Miguel Ramirez Rios. "Portable percussion MIDI controller." In 2015 20th Symposium on Signal Processing, Images and Computer Vision (STSIVA). IEEE, 2015. http://dx.doi.org/10.1109/stsiva.2015.7330416.

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Bacon, Benjamin, Marcelo M. Wanderley, and Fabrice Marandola. "Handedness in Percussion Sight-Reading." In the 2014 International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2617995.2618015.

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Aimi, Roberto. "Percussion instruments using realtime convolution." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279768.

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Reports on the topic "Percussion"

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Sniezek, Frank M. Performance Oriented Packaging Report for Primer, Percussion-Electric M75 or Percussion M82. Fort Belvoir, VA: Defense Technical Information Center, November 1992. http://dx.doi.org/10.21236/ada258495.

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Bui, H. D., M. S. Oliver, and M. A. Gray. Steerable percussion air drilling system. Office of Scientific and Technical Information (OSTI), December 1993. http://dx.doi.org/10.2172/10128298.

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Ellis, Michael E. Environmentally Acceptable Medium Caliber Ammunition Percussion Primers. Fort Belvoir, VA: Defense Technical Information Center, October 2007. http://dx.doi.org/10.21236/ada487438.

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Ellis, Michael. Environmental Acceptable Medium Caliber Ammunition Percussion Primers. Fort Belvoir, VA: Defense Technical Information Center, May 2008. http://dx.doi.org/10.21236/ada482027.

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Bourgeois, J. C., K. Gajewski, and M. N. Demuth. A universal percussion corer for sampling lake sediments. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2011. http://dx.doi.org/10.4095/288038.

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Bourgeois, J. C., K. Gajewski, and M. N. Demuth. A universal percussion corer for sampling lake sediments. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2011. http://dx.doi.org/10.4095/288047.

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Bartkowski, Peter T. Design of a Percussion and Electric Primer Gun Firing Power Supply. Fort Belvoir, VA: Defense Technical Information Center, July 2014. http://dx.doi.org/10.21236/ada607546.

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Dougherty, L. F. ,. Westinghouse Hanford. Developmental test report, assessment of XT-70E percussion drill rig operation in tank farms. Office of Scientific and Technical Information (OSTI), September 1996. http://dx.doi.org/10.2172/326866.

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Bruno, Michael, Kang Lao, Jean Young, and Juan Ramos. The Use of Advanced Percussion Drilling to Improve Subsurface Permeability for Enhanced Geothermal Systems. Office of Scientific and Technical Information (OSTI), January 2019. http://dx.doi.org/10.2172/1491407.

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Hirlinger, John, and Magdy Bichay. Demonstration of Metastable Intermolecular Composites (MIC) on Small Caliber Cartridges and CAD/PAD Percussion Primers. Fort Belvoir, VA: Defense Technical Information Center, July 2009. http://dx.doi.org/10.21236/ada637473.

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