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Relevant bibliographies by topics / Percussion ensembles with electronics

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Academic literature on the topic 'Percussion ensembles with electronics'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Percussion ensembles with electronics"

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Veselinović-Hofman, Mirjana. "Silence As a Hermeneutic Oasis of Music." Musicological Annual 43, no. 2 (2007): 333–57. http://dx.doi.org/10.4312/mz.43.2.333-357.

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This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stimulates associative and cognitive paths. It concerns a specific ‘suspension’ space that offers ‘some more time and place’ for various streams of emotio

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MILLER, LETA E. "Henry Cowell and John Cage: Intersections and Influences, 1933–1941." Journal of the American Musicological Society 59, no. 1 (2006): 47–112. http://dx.doi.org/10.1525/jams.2006.59.1.47.

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Abstract This article explores, through examination of correspondence and other primary sources, the close interaction between Henry Cowell and John Cage from 1933 to 1941 in the areas of percussion music, dance, world musics, the prepared piano, electronic sounds, micro-macrocosmic forms, sliding tones, and elastic composition. Several works are examined in detail, among them Cowell's Pulse (which anticipated Cage's micro-macrocosmic forms in the Constructions) and Cage's Imaginary Landscape No. 1 (whose electronic slides addressed Cowell's prediction that the “future of music” lay in the per

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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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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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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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Liu, Yuru, Xinkai Qiu, Saurabh Soni, and Ryan C. Chiechi. "Charge transport through molecular ensembles: Recent progress in molecular electronics." Chemical Physics Reviews 2, no. 2 (2021): 021303. http://dx.doi.org/10.1063/5.0050667.

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Miranda, Eduardo Reck. "Genetic Music System with Synthetic Biology." Artificial Life 26, no. 3 (2020): 366–90. http://dx.doi.org/10.1162/artl_a_00325.

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This article introduces GeMS, a system for music composition informed by synthetic biology. GeMS generates music with simulations of genetic processes, such as transcription, translation, and protein folding, with which biological systems render chains of amino acids from DNA strands. The system comprises the following components: the Miranda machine, the rhythmator, and the pitch processor. The Miranda machine is an abstract Turing-machine-like processor, which manipulates a sequence of DNA symbols according to a set of programming instructions. This process generates a pool of new DNA strand

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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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Laws, Catherine. "Beckett in New Musical Composition." Journal of Beckett Studies 23, no. 1 (2014): 54–72. http://dx.doi.org/10.3366/jobs.2014.0086.

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The musical legacy of Samuel Beckett is evident in the large number of compositions inspired by his work. Moreover, Beckett's influence has endured beyond the associations with musical modernism from the 1960s onwards. How, then, do the approaches of younger composers relate to and differ from those working during Beckett's lifetime, and what are the implications for performance? This article explores these questions in relation to two recent compositions: Damien Harron's what is the word (2011) for flute, percussion, piano and electronics, and Martin Iddon's head down among the stems and bell

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Mackay, Sam. "Tectonics Festival Glasgow." Tempo 71, no. 282 (2017): 82–85. http://dx.doi.org/10.1017/s0040298217000651.

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For those who, consciously or not, have come to associate today's exploratory music with small ensembles, electronics or performative physicality, the symphony orchestra can seem an unlikely source of new horizons. The orthodoxy of the concert hall, the uniforms, the absorption of human performers into an abstract whole, the stasis of musicians and audience: these aren't new anxieties but they persist in interesting ways.

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Dissertations / Theses on the topic "Percussion ensembles with electronics"

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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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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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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 wi

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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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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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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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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.<br>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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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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Books on the topic "Percussion ensembles with electronics"

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

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

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

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

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

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

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

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

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

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Book chapters on the topic "Percussion ensembles with electronics"

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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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Jahnke, T., V. Mergel, O. Jagutzki, et al. "High-Resolution Momentum Imaging—From Stern’s Molecular Beam Method to the COLTRIMS Reaction Microscope." In Molecular Beams in Physics and Chemistry. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63963-1_18.

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AbstractMulti-particle momentum imaging experiments are now capable of providing detailed information on the properties and the dynamics of quantum systems in Atomic, Molecular and Photon (AMO) physics. Historically, Otto Stern can be considered the pioneer of high-resolution momentum measurements of particles moving in a vacuum and he was the first to obtain sub-atomic unit (a.u.) momentum resolution (Schmidt-Böcking et al. in The precision limits in a single-event quantum measurement of electron momentum and position, these proceedings [1]). A major contribution to modern experimental atomic and molecular physics was his so-called molecular beam method [2], which Stern developed and employed in his experiments. With this method he discovered several fundamental properties of atoms, molecules and nuclei [2, 3]. As corresponding particle detection techniques were lacking during his time, he was only able to observe the averaged footprints of large particle ensembles. Today it is routinely possible to measure the momenta of single particles, because of the tremendous progress in single particle detection and data acquisition electronics. A “state-of-the-art” COLTRIMS reaction microscope [4–11] can measure, for example, the momenta of several particles ejected in the same quantum process in coincidence with sub-a.u. momentum resolution. Such setups can be used to visualize the dynamics of quantum reactions and image the entangled motion of electrons inside atoms and molecules. This review will briefly summarize Stern’s work and then present in longer detail the historic steps of the development of the COLTRIMS reaction microscope. Furthermore, some benchmark results are shown which initially paved the way for a broad acceptance of the COLTRIMS approach. Finally, a small selection of milestone work is presented which has been performed during the last two decades.

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

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

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"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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"Making Contact to Molecular Layers: Linking Large Ensembles of Molecules to the Outside World." In Molecular Electronics. Jenny Stanford Publishing, 2016. http://dx.doi.org/10.1201/b19368-4.

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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. "Music-Theater." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0009.

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

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Conference papers on the topic "Percussion ensembles with electronics"

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

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Kuzmich, A., T. Chaneliere, and D. Matsukevich. "Quantum networking with atomic ensembles." In International Quantum Electronics Conference, 2005. IEEE, 2005. http://dx.doi.org/10.1109/iqec.2005.1561098.

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Weatherill, K. J., J. D. Pritchard, R. P. Able, M. G. Bason, A. K. Mohapatra, and C. S. Adams. "Light interactions in Rydberg ensembles." In 11th European Quantum Electronics Conference (CLEO/EQEC). IEEE, 2009. http://dx.doi.org/10.1109/cleoe-eqec.2009.5194767.

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Solis-Perales, Gualberto, Eduardo Ron-Gradilla, and Daniela Valle-Rodriguez. "Activation on Ensembles of Neurons via Controlled Synchronization." In 2009 Electronics, Robotics and Automotive Mechanics Conference. IEEE, 2009. http://dx.doi.org/10.1109/cerma.2009.51.

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Beyaz, Koray, and Mehmet Onder Efe. "Forecasting BIST100 Index with Neural Network Ensembles." In 2019 11th International Conference on Electrical and Electronics Engineering (ELECO). IEEE, 2019. http://dx.doi.org/10.23919/eleco47770.2019.8990659.

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Polzik, E., B. Julsgaard, J. Sorensen, and C. Schori. "Entanglement and quantum memory with atomic ensembles." In 2003 European Quantum Electronics Conference. EQEC 2003 (IEEE Cat No.03TH8665). IEEE, 2003. http://dx.doi.org/10.1109/eqec.2003.1314253.

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Vyas, Manan, and Thomas H. Seligman. "Random matrix ensembles for many-body quantum systems." In ADVANCES IN MATERIALS, MACHINERY, ELECTRONICS II: Proceedings of the 2nd International Conference on Advances in Materials, Machinery, Electronics (AMME 2018). Author(s), 2018. http://dx.doi.org/10.1063/1.5031701.

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Ozhigov, Yuri I. "Dark states of atomic ensembles: properties and preparation." In The International Conference on Micro- and Nano-Electronics 2016, edited by Vladimir F. Lukichev and Konstantin V. Rudenko. SPIE, 2016. http://dx.doi.org/10.1117/12.2264516.

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