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Relevant bibliographies by topics / Percussion ensembles

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Academic literature on the topic 'Percussion ensembles'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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Journal articles on the topic "Percussion ensembles"

1

Stavrat, Constantin. "10. Comparative Interpretative Analysis of David Mancini’s Work Suite for Solo Drumset and Percussion Ensemble." Review of Artistic Education 19, no. 1 (2020): 81–84. http://dx.doi.org/10.2478/rae-2020-0010.

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AbstractThe endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the re

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Morris, J. David, and Keith P. Thompson. "A Different Drum: Percussion Ensembles in General Music." Music Educators Journal 76, no. 1 (1989): 30–34. http://dx.doi.org/10.2307/3400896.

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Sepdwiko, Deria, and Nofroza Yelli. "POLA GARAPAN LAGU “TIM TAM TUM” MENGGUNAKAN ANSAMBEL CAMPURAN PADA SISWA EKSTRAKURIKULER SMP NEGERI 15 PALEMBANG." Grenek Music Journal 9, no. 2 (2020): 121. http://dx.doi.org/10.24114/grenek.v9i2.21202.

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In writing this research the writer discusses the pattern of cultivating songs “TIM TAM TUM” Using Mixed ensembles for exstracurriculer students of SMP 15 Palembang.This study aims to determine how the pattern form the Tim Tam Tum song composed by using a mixed ensemble. The data collection techniques used were, observation, interview, and documentation techniques. The method used in this research is a qualitative descriptive method. The results of this study are analyzed to become a research report that has an output, target, namely being published in a scientific journal and used as teaching

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Cohen, Elizabeth A., Michael S. Hart, and Huston Smith. "Digital recording techniques involving vocal and percussion ensembles: The Gyuto Tantric Monks." Journal of the Acoustical Society of America 78, S1 (1985): S35. http://dx.doi.org/10.1121/1.2022770.

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Fausta, Ega, and Ananto Sabdo Aji. "GARAP LAGU BAJU HÉJO: DAMPAK ADAPTASI SALENDRO 15 NADA PADA ANGKLUNG PENTATONIS RAGAM LARAS." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 22, no. 2 (2023): 221–36. http://dx.doi.org/10.33153/keteg.v22i2.4796.

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Angklung Pentatonic Ragam Laras (APRL) is one of the innovative angklung products created in 2017 through an experimental process by Endah Irawan et al. A variety of tunings pentatonic angklung (APRL) is a musical ensemble consisting of several types of instruments made of bamboo material that apply the concept of collaborative instrumentation between gamelan orchestration and Western music. This ensemble is a new innovation in the world of traditional Sundanese art because it has a distinctive tuning pattern/scale system that collects several tuning patterns in Sundanese karawitan, namely Sal

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Raja Halid, Raja Iskandar. "SUFISM, SPIRITUAL PERFORMATIVITY AND THEOLOGICAL CONTESTATIONS: PARALLELISMS OF THE ACEH AND PERAK SULTANATES ACROSS THE CENTURIES." International Journal of Asia Pacific Studies 18, no. 2 (2022): 341–63. http://dx.doi.org/10.21315/ijaps2022.18.2.14.

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Since the thirteenth century, longstanding connections between tariqa (Sufi Orders) and Malay Sultanates brought new Islamic knowledge and practices which were fused with local traditions. The coming of Islam also brought the nobat musical ensemble and religious-related musical practices. From the court of Pasai, North Sumatera, the ensemble later spread to other parts of the Malay world and was still played in the succeeding Aceh sultanate in the early seventeenth century. Evidence for this exists in the court manual, Adat Aceh, which details the use of music in royal religious processions an

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Raja Halid, Raja Iskandar. "SUFISM, SPIRITUAL PERFORMATIVITY AND THEOLOGICAL CONTESTATIONS: PARALLELISMS OF THE ACEH AND PERAK SULTANATES ACROSS THE CENTURIES." International Journal of Asia Pacific Studies 18, no. 2 (2022): 315–37. http://dx.doi.org/10.21315/ijaps2022.18.2.13.

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Since the thirteenth century, longstanding connections between tariqa (Sufi Orders) and Malay Sultanates brought new Islamic knowledge and practices which were fused with local traditions. The coming of Islam also brought the nobat musical ensemble and religious-related musical practices. From the court of Pasai, North Sumatera, the ensemble later spread to other parts of the Malay world and was still played in the succeeding Aceh sultanate in the early seventeenth century. Evidence for this exists in the court manual, Adat Aceh, which details the use of music in royal religious processions an

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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.

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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars

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STELMASHCHUK, ZINOVIY. "FEATURES OF STUDYING THE EDUCATIONAL DISCIPLINE “INSTRUMENTAL SCIENCE AND METHODOLOGY OF WORKING WITH A CHILDREN’S MUSIC GROUP”: EXPERIENCE AT AN INSTITUTION OF HIGHER EDUCATION." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, no. 2 (2023): 135–44. http://dx.doi.org/10.25128/2415-3605.22.2.17.

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Attention is focused on the importance of improving the quality of music teacher training by achieving the necessary competencies related to music-making technologies on Ukrainian folk instruments in the process of conducting music lessons in secondary schools, managing children's instrumental ensembles in out-of-school education institutions. Work experience while teaching the course «Instrumental science and methods of working with a children's music group» at TNPU is highlighted. The basic conditions that affect the development and process of formation of professional skills and skills of p

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Levy, Jacob J., Christopher M. Castille, and Justina A. Farley. "An Investigation of Musical Performance Anxiety in the Marching Arts." Medical Problems of Performing Artists 26, no. 1 (2011): 30–34. http://dx.doi.org/10.21091/mppa.2011.1004.

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The purpose of this study was to investigate the prevalence of musical performance anxiety (MPA) in marching artists. The marching arts include high school and college marching bands, drum and bugle corps, and indoor color guard and percussion ensembles. Drawing on a sample of 780 world class drum and bugle corps performers, we examined the prevalence of somatic and cognitive symptoms of MPA. We also examined differences in endorsement of symptoms by performing section (i.e., brass players, percussionists, and dancers/color guard) and gender. Results revealed a relatively low prevalence of MPA

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Dissertations / Theses on the topic "Percussion ensembles"

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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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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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McDonald, Richard F. (Richard Frederic). "Canonic Variations for Percussion and Orchestra." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc935717/.

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This work in three movements is written for piccolo, flute, alto flute in G, oboe, English horn in F, clarinet in Bb, bass clarinet in Bb, contrabass clarinet in Bb, bassoon, soprano saxophone in Bb, alto saxophine in Bb, horn in F, trumpet in Bb, six percussion, violins, violas, and violoncellos. The approximate duration is thirteen minutes. The rhythm of the piece is notated metrically and spatially. Movements I and III employ both types of notation, while movement II is strictly metric. Most of the percussion instruments used in the first movement are capable of sustaining very lengthy note

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Wang, Justin Wen-Lo. "Sometimes I feel the space between people (voices) in terms of tempos-- : a work for percussion duo with computer animated notational interface /." May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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D.M.A. final project--Department of Music, Stanford University, 2008.<br>Includes performance instructions (p. 16-18). "This piece will employ novel notation and scoring techniques using custom-designed software for animated notation, real-time composition and performance based interactivity."--p. iv. Accompanying CD-ROM contains computer-animated software. Includes bibliographical references (p. 20).

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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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Andreatta, Drew David. "Three Lou Harrison Percussion Ensembles Arranged for A Solo Percussionist." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293612.

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This document details the creation of a new type of multiple percussion solo from pre-composed percussion ensembles. The author transcribes three works for percussion ensemble by Lou Harrison (1917-2003): Suite for Percussion, movement I, Bomba and Simfony #13 so that they can be performed as percussion solos. Each composition requires a different type of solo version because of the diverse instruments and musical materials in the original scores. Learning to perform these new versions will expand the technical capabilities of a soloist and offers complex challenges not found in the original e

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Dalton, Grant Beckett. "Nigel Westlake's Omphalo Centric Lecture guide for performance including a biography of the composer and an examination of the different versions of the work /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155572878.

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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 synt

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Broad, Elaine H. "Ee." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/725081.

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Ee is a single movement composition for eight sopranos (who also play handbells), a percussion ensemble consisting of eight players, and piano. The work is organized into two sections, the first of which presents the basic material and explores the possibilities it suggests. The second represents a disintegration of the material, eventual synthesis, and assertion of the original material. The piece is conceived as a minimalist composition in which the musical energy and momentum is created not through development, but rather through devices of additive layering of ostinato patterns. The piece

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Sherman, Donald Brad Sherman Donald Brad. "Two compositions /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/15507.

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Books on the topic "Percussion ensembles"

1

Siwe, Thomas. Percussion ensemble literature. Media Press, 1998.

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2

Cage, John. Six: For percussion. Henmar Press, 1991.

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3

Tull, Fisher. Quodlibet: For brass and percussion. Boosey & Hawkes, 1990.

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4

Spears, Jared. Romantique: For percussion ensemble. Southern Music Co., 1990.

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Spears, Jared. Caprice diabolique: For percussion ensemble. Southern Music Co., 1989.

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6

Han, Guohuang. The lion's roar: Chinese luogu percussion ensembles. 2nd ed. World Music Press, 1996.

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Campbell, Patricia Shehan, and Guohuang Han. The lion's roar: Chinese luogu percussion ensembles. 2nd ed. World Music Press, 1996.

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8

Cage, John. Double music. New World Records, 1985.

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9

Percussion discography: An international compilation of solo and chamber percussion music. Greenwood Press, 1990.

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10

Husa, Karel. Drum ceremony: For percussion : from An American Te Deum (1976). Associated Music Publishers, 1989.

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Book chapters on the topic "Percussion ensembles"

1

Devenish, Louise. "Contemporary percussion ensembles in Sydney." In Global Percussion Innovations. Routledge, 2018. http://dx.doi.org/10.4324/9781315180595-4.

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"Music of the percussion ensembles." In The Music of Malaysia. Routledge, 2017. http://dx.doi.org/10.4324/9781315223025-4.

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"Recording Woodwinds, Brass, and Percussion." In Recording Orchestra and Other Classical Music Ensembles. Routledge, 2016. http://dx.doi.org/10.4324/9781315721040-16.

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Clendinning, Elizabeth A. "Bimusicality and Beyond." In American Gamelan and the Ethnomusicological Imagination. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0008.

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The chapter examines roles for gamelan in music pedagogy outside ethnomusicology. First, the pedagogical benefits of teaching gamelan are compared to those of teaching African drum ensembles and steel pan, two other non-Western classical percussion traditions that are commonly taught in American colleges. Then, the benefits of teaching gamelan within percussion education, composition, and music education programs are considered as teachers who employ gamelan in their classroom discuss how they use the instruments. Pedagogical benefits for students include improving motor coordination, physical technique, focus, and cognition; improving their listening skills; and expanding their concepts of artistic collaboration or group social skills, in addition to instilling real possibilities for cross-cultural professional artistic collaboration.

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Díaz, Juan Diego. "Bahia as an Epicenter of African Diasporic Culture." In Africanness in Action. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197549551.003.0002.

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Chapter 1 provides a background on Afro-Bahian history, religion, politics, and musical activism focusing on two questions: How did Bahia emerge as an epicenter of African diasporic culture in Brazil and the black Atlantic? And what are the implications of this image for the study of tropes of Africanness? The discussion touches upon the specific practices and realms from which perceived Africanness emanates, including carnival percussion ensembles linked to black consciousness and, especially, the Afro-Brazilian Candomblé religion, which agglutinates Brazil’s most evocative African symbols, images, and sounds. Additionally, racial relations and the complicated relationship between African-based identities and national consciousness are discussed.

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Clendinning, Elizabeth A. "Interlocking Sounds, Interlocking Communities." In American Gamelan and the Ethnomusicological Imagination. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0001.

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The chapter introduces Indonesian gamelan (percussion orchestra) and the roles that it has played in college world music education in North America and in the discipline of ethnomusicology. The chapter presents a musical overview of gamelan and its original cultural contexts in Indonesia, including religious ceremonies, tourist audiences, and local entertainment. Then it introduces new contexts that gamelan has come to occupy in North America, including performances on concert stages, at outdoor festivals, in prisons, and, most pertinent to this book, in collegiate music halls. Finally, the chapter introduces the premise of the volume—a biography-based examination of the way academic world music ensembles impact local and transnational educational and musical communities—and the book’s primary goal: that of suggesting ways to construct more sustainable academic music communities.

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Siwe, Thomas. "An Emerging Literature for Percussion Ensemble." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0003.

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In the 1920s, a number of composers prophesied through their writings and their compositions how the music of the twentieth century would sound. Alexander Tcherepnin, Dimitri Shostakovich, George Antheil, and others contributed to the concept that percussion alone could be an instrumental force. This chapter examines in detail works by the French/American composer Edgard Varèse, so-called “father of percussion ensemble music,” including an analysis of his iconic composition for thirteen percussion players, Ionisation. Works by the composers Amadeo Roldán and José Ardévol draw on the Afro-Cuban rhythms of the Caribbean to create a new music, both classical and ethnic. Their compositions, along with those of the Mexican composer Carlos Chávez, served as paradigms for the music that followed.

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Bakan, Michael B. "The gamelanbeleganjur as Balinese percussion ensemble." In The Cambridge Companion to Percussion. Cambridge University Press, 2016. http://dx.doi.org/10.1017/cbo9781316145074.020.

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"AN EMERGING LITERATURE FOR PERCUSSION ENSEMBLE." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5406/j.ctv15d7zrg.7.

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Siwe, Thomas. "Serialism." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0006.

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In the 1950s and 1960s, many composers, influenced by Arnold Schoenberg and Anton Webern, embraced serial compositional techniques. Tonal music became atonal and composers, such as Pierre Boulez from France and the German composer, Karlheinz Stockhausen, championed this new compositional approach. This chapter defines serialism and how composers applied it to works for percussion instruments. Music examples include Stockhausen’s solo work, Zyklus, with its totally original notational system, and a setting of an E. E. Cummings poem, Circles, by the Italian composer Luciano Berio. American composer Charles Wuorinen’s use of Milton Babbitt’s “time point” system in both his solo work Janissary Music and his forty-five-minute Percussion Symphony is presented, as is the work of Argentine composer Alberto Ginastera, who contributed to the literature one of the twentieth century’s largest percussion works, Cantata para América Mágica, for dramatic soprano and fifty-three percussion instruments. A discussion of percussion solo and ensemble works by the Greek composer, architect, and mathematician Iannis Xenakis completes the chapter.

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Conference papers on the topic "Percussion ensembles"

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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the str

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Tian, Mi, Ajay Srinivasamurthy, Mark Sandler, and Xavier Serra. "A study of instrument-wise onset detection in Beijing Opera percussion ensembles." In ICASSP 2014 - 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2014. http://dx.doi.org/10.1109/icassp.2014.6853981.

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Martin, Charles, Henry Gardner, and Ben Swift. "Exploring percussive gesture on iPads with ensemble metatone." In CHI '14: CHI Conference on Human Factors in Computing Systems. ACM, 2014. http://dx.doi.org/10.1145/2556288.2557226.

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