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Books on the topic 'Percussion ensembles Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Cage, John. Double music. New York, N.Y: New World Records, 1985.

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2

Siwe, Thomas. Percussion ensemble literature. Champaign, Ill: Media Press, 1998.

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3

Cage, John. Six: For percussion. New York, NY: Henmar Press, 1991.

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4

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

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5

Tull, Fisher. Quodlibet: For brass and percussion. [New York?]: Boosey & Hawkes, 1990.

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6

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

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7

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

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8

Jessup, Lynne. All hands on!: An introduction to West African percussion ensembles. Danbury, Conn: World Music Press, 1997.

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9

Cage, John. Three2: For three percussionists. New York, NY: Henmar Press, 1991.

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10

Cage, John. Four4. New York, NY: Henmar Press, 1991.

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11

Oliveros, Pauline. Traveling companions: For percussion ensemble and dances [i.e. dancers] : 1980. Baltimore, MD: Smith Publications, 1998.

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12

Grimo, Steven. Percussion section techniques: A collection of 8 ensembles with performance tape and conductor's guide. Ft. Lauderdale, FL: Meredith, 1992.

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13

Gonçalves, Guilherme. O batuque carioca: As baterias das escolas de samba do Rio de Janeiro : aprendendo a tocar = The carioca groove : the Rio de Janeiro's samba schools drum sections : learning how to play. [Brazil]: Groove, 2000.

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14

Weiner, Lawrence. Two by two: For vibraphone and marimba duet. San Antonio, Tex: Southern Music Co., 1988.

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15

Schickele, Peter. Fanfare for Fred: (S. F4F) for trumpets, horns, and percussion. Bryn Mawr, Pa: T. Presser, 1993.

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16

Cage, John. Fourteen: For piano solo with flute/piccolo, bass flute, clarinet, bass clarinet, horn, trumpet, two percussion, two violins, viola, 'cello, and contrabass. New York, NY: Henmar Press, 1990.

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17

O suingue baiano: Mikrorhythmische Phänomene in baianischer Perkussion. Frankfurt am Main: P. Lang, 2003.

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18

The Afro-Cuban folkloric musical tradition: A practical guide for percussionists. Sylmar, CA: Leisure Planet Music, 2007.

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19

Wajler, Zig. World beat fun: Multicultural and contemporary rhythms for K-8 classrooms. Miami, FL: Warner Bros. Publications, 2002.

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20

Euba, Akin. Yoruba drumming: The Dùndún tradition. Bayreuth, W. Germany: E. Breitinger, Bayreuth University, 1990.

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21

David, Locke. Drum gahu!: A systematic method for an African percussion piece. Crown Point, IN: White Cliffs Media Co., 1987.

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22

Shwipke paeunŭn samul nori. Sŏul-si: Hangminsa, 2004.

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23

Shwipke paeunŭn samul nori. Sŏul-si: Hangminsa, 2003.

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24

David, Locke. Drum gahu: An introduction to African rhythm. Tempe, AZ: White Cliffs Media, 1998.

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25

SamulNori: Contemporary Korean drumming and the rebirth of itinerant performance culture. Chicago: The University of Chicago Press, 2012.

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26

1952-, Cornelius Steven, ed. The music of Santería: Traditional rhythms of the batá drums. Crown Point, IN: White Cliffs Media Co., 1992.

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27

Amira, John. The music of Santería: Traditional rhythms of the batá drums. Tempe, AZ: White Cliffs Media, 1999.

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28

Siwe, Thomas. Percussion ensemble & solo literature. Champaign, Ill: Media Press, 1993.

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29

Bartholomew, John. The steel band. London: Oxford University Press, Music Department, 1997.

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30

Girsberger, Russ. Percussion assignments for band & wind ensemble. Galesville, MD: Meredith Music Publications, 2004.

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31

Masters of the sabar: Wolof griot percussionists of Senegal. Philadelphia, PA: Temple University Press, 2007.

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32

Vō, Vân-Ánh Vanessa. Three-mountain pass. [St. Paul, Minn.]: Innova, 2013.

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33

Chihara, Paul. Minidoka: (Reveries of--) : SATB, vibraphone, and percussion. Los Angeles, CA: Yelton Rhodes Music, 1998.

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34

DeLio, Thomas. Against the silence--: For percussion ensemble and 4-channel computer generated tape : 1985-86. Baltimore, MD: Smith Publications, 1987.

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35

Garland, Peter. Three dances from the conquest of Mexico. Lebanon, NH: Distributed by Frog Peak Music, 1995.

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36

Asia, Daniel. Sand II: (1978) for mezzo-soprano, 2 flutes (doubling piccolo), B♭ clarinet, 2 pianos, and 2 percussion. Bryn Mawr, Pa: Merion Music, 1994.

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37

Werle, Floyd E., and Randall Eyles. The golden age of the xylophone: Ragtime-novelty xylophone solo with marimba quartet or piano. Ft. Lauderdale, FL: Meredith Music, 1990.

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38

Harrison, Lou. La Koro Sutro. San Francisco: New Albion Records, 1988.

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39

Marca, Nicola La. La nobiltà romana e i suoi strumenti di perpetuazione del potere. Roma: Bulzoni, 2000.

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40

Percussion Ensembles for Young Performers: Snare Drum, Bass Drum, & Accessories (Ensembles for Young Performers). Alfred Publishing, 2006.

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41

McCormick, Robert M. Plot: Music for unspecified instrumentation. 2015.

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42

Sacred Trios for All: Percussion (Sacred Instrumental Ensembles). Alfred Publishing Company, 1998.

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43

Schmid, Will. World Music Drumming: New Ensembles And Songs. Hal Leonard Corporation, 2004.

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44

'Lions Roar Chinese Luogo Percussion Ensembles/Book, Audio CD, & Slides Edition. World Music Press, 1996.

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45

Adams, John Luther. Ilimaq: For four percussionists (or one percussionist with digital relay) and electronic sounds. 2017.

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46

SamulNori: Korean Percussion for a Contemporary World. Taylor & Francis Group, 2016.

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47

Clendinning, Elizabeth A. American Gamelan and the Ethnomusicological Imagination. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.001.0001.

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Abstract:

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

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48

Euba, Akin. Yoruba Drumming (Published by the Author). Bayreuth African Studies,Germany, 2001.

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49

Jessup, Lynn. All Hands on: An Introduction to West African Percussion Assembles. World Music Pr, 1998.

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50

Birrow, David. The bucket book: A junkyard percussion manual. 2014.

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