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Dissertations / Theses on the topic 'Percussion instruments'
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1
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.
2
Lee, Elsa. "Sunan chui da : an investigation of the role of percussion in traditional Chinese music." Title page, table of contents and introduction only, 1988. http://web4.library.adelaide.edu.au/theses/09MUM/09muml477.pdf.
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Aimi, Roberto Mario 1973. "Hybrid percussion : extending physical instruments using sampled acoustics." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/38640.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Includes bibliographical references (p. 133-138).
This thesis presents a system architecture for creating hybrid digital-acoustic percussion instruments by combining extensions of existing signal processing techniques with specially-designed semi-acoustic physical controllers. This work aims to provide greater realism to digital percussion, gaining much of the richness and understandability of acoustic instruments while preserving the flexibility of digital systems. For this thesis, I have collaborated with percussionists to develop a range of instruments, to refine and extend the algorithmic and physical designs, and to determine successful models of interaction. Conventional percussion controllers measure and discretize the intensity of strikes into discrete trigger messages, but they also ignore the timbre of the hits and fail to track more ambiguous input. In this work, the continuous acoustic output of a struck physical object is processed to add the resonance of a sampled instrument. This is achieved by employing existing low-latency convolution algorithms which have been extended to give the player control over features such as damping, spectral flattening, nonlinear effects, and pitch.
(cont.) One of the advantages of this approach is that light taps, scrapes, rubs, or stirring with brushes all take on a hybrid timbre of the real and sampled sound that is surprisingly realistic and controllable. Since part of its behavior is inherently acoustic, a player's intuition about interacting with physical objects can be applied to controlling it. The ability to transform the apparent acoustic properties of objects also suggests applications to HCI and product design contexts.
by Roberto Mario Aimi.
Ph.D.
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Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.
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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
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Baumbusch, Brian. "The lightbulb project| New music for new percussion instruments." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549992.
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This thesis is about the process behind building, tuning, and composing music for a new set of metallophones called the "Lightbulb" instruments. This project began in 2011 and has continued to expand over the past two years: the first piece to be written for the instruments is titled Prana, and this thesis describes how the process of building and tuning the instruments informed the compositional process behind Prana. The premiere of Prana led to the formation of the Lightbulb Ensemble, which performs on these new instruments. The instruments and the group continue to develop.
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Varsányi, András. "Gong ageng : Herstellung, Klang und Gestalt eines königlichen Instrumentes des Ostens /." Tutzing : H. Schneider, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121548j.
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Sidaras, Evaldas. "Netradiciniai mušamieji instrumentai ir jų panaudojimas neformaliame ugdyme." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_104918-81281.
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Žinant netradicinių mušamųjų instrumentų klasifikaciją ir jų panaudojimo galimybes neformaliame ugdyme, pedagogams ir būsimiems muzikantams bus lengviau pateikti ir perprasti mokomąją medžiagą, improvizuoti grojant bei lavinti kūrybiškumą, pasirinkti ar pasigaminti patį instrumentą.
Bakalauro darbe analizuojami netradiciniai mušamieji instrumentai ir jų panaudojimo galimybės neformaliame ugdyme.
Tyrimo tikslas – išanalizuoti netradicinius mušamuosius instrumentus ir atskleisti jų panaudojimo galimybes ugdant muzikantus. Tikslui pasiekti iškelti uždaviniai:
1) pateikti netradicinių mušamųjų instrumentų apibūdinimą;
2) klasifikuoti netradicinius mušamuosius instrumentus;
3) įvardinti netradicinių mušamųjų instrumentų naudojimo muzikinėje praktikoje ypatumus;
4) aprašyti netradicinių mušamųjų instrumentų panaudojimo galimybes neformaliame ugdyme;
5) surengti meninį projektą, paremtą teorine bakalauro darbo dalimi.
Darbe naudojami tyrimo metodai: literatūros šaltinių vertimas, analizė ir interpretavimas; asmenines muzikines patirties apibendrinimas.
Tyrimo metu išanalizuota literatūra aktualia tema, apibūdinti ir klasifikuoti netradiciniai mušamieji, pateiktos šių instrumentų panaudojimo neformaliame ugdyme galimybės. Norint pademonstruoti netradicinų mušamųjų instrumentų naudojimo ypatybes, išnagrinėtas teorinėje darbo dalyje, surengtas meninis projektas. Koncerte demonstruota dalis netradicinių mušamųjų instrumentų, atlikti kūriniai, kurie atskleidžia jų naudojimo... [toliau žr. visą tekstą]Untraditional percussion instruments, their purpose of use and classification in non-formal education: this research is for educators and future musicians who want to present and comprehend the training material, to improvise during lectures and increase creativity in their students. Percussion instruments ant their use in non-formal education is analysed in this thesis. Research purpose: to analyze the unconditional percussion instruments and to define their usage in educating musicians. The targets for reaching the goal are as follows: 1. To present the description of the unconditional instruments. 2. To classify the unconditional percussion instruments. 3. To name the features of unconditional percussion instruments usage in musical practice. 4. To describe the options of use of the unconditional percussion instruments in non – formal education. Research methods used in the thesis: analysis of the literature sources, analysis and interpretation of the sheet music, description of personal experience. During this research, the topical literature of unconditional percussion instruments was analyzed, described and classified. An artistic project was arranged in order to demonstrate the internals of the instruments. During the project, several pieces were performed by percussion insrumentalists to reveal the instruments purpose of use.
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Yannavut, Wannapha. "An exploration of Thai traditional music for Western percussion instruments." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3231.
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This study consists of five compositions/arrangements and one excerpt of a composition from the folk music of Thailand for Western percussion solo and ensembles. These compositions/arrangements were selected from Thai folk songs from the four regions of Thailand (central, northern, northeastern, and southern) in order to represent each region's culture and characteristics: Bats Eat Bananas for percussion ensemble, plus an excerpt for mallet percussion (from the central region); Long Mae Ping Fantasia for marimba solo and percussion ensemble (from the northern region); Mang Poo Tom Dok for percussion ensemble (from the northeastern region); and Krao Talung Dance for percussion ensemble (from the southern region). This study also includes a history of the selected folk songs and the instruments used, a brief introduction to traditional Thai percussion instruments and techniques, and a discussion of how these techniques can be adapted to Western instruments.
The purpose of this study is to introduce Thai music into Western awareness through the medium of Western percussion instruments. It also serves to assist Thai musicians, especially percussionists, in bringing Western percussion to Thailand and also generating renewed interest among Thai audiences for their own folk music—not only creating a new fusion style of music but also helping keep traditional Thai music alive for future generations.
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Doutaut, Vincent. "Etude expérimentale et simulation numérique d'instruments de percussion à clavier." Paris, Ecole nationale supérieure des télécommunications, 1996. http://www.theses.fr/1996ENST0023.
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La simulation numérique d'instruments de musique peut être vue comme un outil assistant le physicien. Elle lui autorise non seulement de vérifier la pertinence des modèles utilises et d'améliorer ainsi sa compréhension du fonctionnement de l'instrument, mais aussi d'aider la facture instrumentale dans la mesure ou une démarche prédictive vient compléter l'approche empirique de l'élaboration artisanale. Les sons produits par l'ordinateur, en tant que résultats mathématiques d'un algorithme de synthèse, permettent d'évaluer auditivement l'importance perceptive des paramètres élastiques et géométriques des différentes parties qui constituent l'instrument. L'ambition du projet est de parvenir a une modélisation simple mais suffisamment complète des instruments de percussion a clavier (xylophone, marimba, vibraphone,. . . ), qui conduise ensuite au développement d'un procède d'obtention de synthèses sonores de qualité. Sous leur forme occidentale actuelle, ces instruments de musique sont composes d'un assemblage de lames de section variable en bois, fibres synthétiques, ou métal. Chacune d'entre elles est couplee a un résonateur situe sous la lame en son milieu, la plupart du temps constitue d'un tuyau cylindrique en métal. Les lames sont ensuite jouées sur leur face supérieure par percussion de maillets de rigidités différentes (caoutchouc, bois,. . . ) Suivant la couleur désirée du son. Plus généralement, ce travail présent l'étude physique et numérique de la vibration et du rayonnement, pour les fréquences audibles, de barres épaisses de section variable, excitées de manière percussive, et couplées a des résonateurs tubulaires. La résolution de ce problème se concrétise par la réalisation d'un outil d'expérimentation numérique dans le domaine temporel. Dans la première partie de l'étude, la restriction du comportement vibratoire des lames au seul régime de flexion est d'abord justifiée. Il est montre que la théorie de Timoshenko, valable pour des barres relativement épaisses, assure un cadre théorique suffisant pour cette application. Un modèle d'amortissement essentiellement fonde sur le formalisme de la théorie de la viscoplasticité est ensuite présente. L'utilisation de la loi de hertz (théorie de contact solidien) permet de déduire l'expression de la force d'interaction du maillet avec une lame, compte tenu de l'élasticité des deux matériaux. Pour le résonateur, une approximation de l'impédance de rayonnement est envisagée sous la forme d'un filtre du second ordre. Cette approximation s'avère être précise et fournir un problème bien pose. Enfin, le rayonnement des lames est associe a celui d'une distribution linéique de sphères oscillantes, tandis que l'extrémité ouverte du résonateur tubulaire est assimilée a une demi-sphere pulsante. La deuxième étape du travail est d'ordre expérimental. A partir de mesures effectuées sur des instruments réels, une méthodologie d'extraction des paramètres physiques est developpee, pour les lames et les maillets. La connaissance de ces paramètres est indispensable pour la simulation d'un instrument particulier. Par la suite, l'élaboration d'un modèle numérique complet d'instruments de percussion a clavier est exposée. Ce modèle est principalement construit à l'aide de la méthode des différences finies en temps et en espace. La faisabilité de cette approche est démontrée et les propriétés de stabilité et de dispersion des différents algorithmes de synthèse obtenus sont étudiées. Pour le résonateur, il est notamment fait mention d'un exemple d'application concrète de la problématique bien connue en analyse numérique liée à des conditions aux limites absorbantes. Les potentialités et les limites du modèle sont systématiquement mises en valeur par la synthèse de plusieurs séries d'exemples sonores, ensuite confrontes aux résultats expérimentaux.
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Michael, Carlucci. "The Development of New Electronic Percussion Instruments in Popular Music of the 1980s: A Technical Study." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31376.
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The influence of electronic percussion (in particular, the Simmons Drum Company’s innovations) on the compositions and evolution of 1980s Pop music can be examined through technological advancements as well as stylistic characteristics of drum partitions of the decade. Archived company catalogues in collaboration with Matt Dean’s historical timeline provide a clear understanding of the advancements during the time of the company’s tenure at the top of the electronic percussion industry. Definitions of the terms “style” and “genre” in both the primary and secondary approaches -by Allan Moore and other theorists- are used. The stylistic properties which create a genre are key in understanding the political, social, and cultural effects on the music. Ultimately, stylistic traits provide sufficient evidence in order to examine similar compositions which were sub-categorized differently on Billboard’s hit charts. Dave Carlton’s Hook Theory is a major resource in selecting pieces of music which share similarities. The differences in sub-categorization identified in this study are shown to derive from the transition to and the use of electronic percussion.
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McCloud, Daniel W. "Notable percussion excerpts derived from the wind-band repertoire : a continuation of a study by Charles Timothy Sivils." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1395456.
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In 1995 Charles Timothy Sivils completed his study, "Notable Percussion Excerpts of the Twentieth Century Wind-Band Literature." Sivils' intention was to create a formal list of percussion excerpts from substantial, originally composed wind-band literature that could supplement the study of orchestral excerpts. However, because of the continuingly increasing amount of literature being written and published for wind-bands, Sivils' original list no longer reflects recent or current trends in percussion writing for the wind-band. The objective of this study is to expand upon Sivils' excerpt list.The parameters outlined in Sivils' document have been adopted for this study with only minor adjustments. This paper will examine only the following wind-band compositions: (1) Compositions written between 1980 and 2005; (2) Compositions generally considered part of the standard wind-band repertoire; (3) Compositions originally conceived for the wind-band; (4) Compositions which do not feature a soloist in a concerto format; (5) compositions that are considered "concert marches" or movements entitled "March" from a multi-movement work.To provide the author with a body of information from which to start the research, a survey was sent to approximately forty wind-band conductors and percussionists throughout the United States asking them to list pieces, following the parameters previously outlined, from the wind-band repertoire that they feel contain the most significant percussion excerpts. Thirty-eight percent of those surveyed responded. Twenty-four of the suggested works were included in this study, creating a combined list of seventy-six excerpts from this and Sivils' document.Through the use of music notation software, a portion of each part has been reproduced as it appears in the original score. No attempt has been made to correct misprints or improve upon the composer's original notation. The excerpts have been formatted to create a single practicable part that contains all of the concerns discussed in the preceding pages. As with Sivils' study, a major component of this project has been to make the performer aware of these excerpts and to give insights into their performance.School of Music
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Peterman, Timothy J. (Timothy James). "An Examination of Two Sextets of Carlos Chávez, Toccata for Percussion Instruments and Tambuco for Six Percussion Players." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331616/.
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This lecture-recital deals with the two percussion sextets of Carlos Chavez. Each of the compositions is analyzed by examining compositional characteristics and performance problems. The selection, substitution, and construction of the necessary instruments for performance are explored. Suggestions for stage set-up are also included. The percussion ensemble has become an integral part of most high school and university percussion programs. Much of the literature composed for this medium has not become part of the standard literature. Chlvez's Toccata has obtained its place in the literature—it is one of the most often performed percussion works in the world. Although Tambuco has not yet attained the same status as Toccata, it is, nevertheless, an important contribution to the literature. An attempt is also made to identify the significance of these works by examining some of the early influences on Chavez's compositional style both from his native Mexico, and from other composers writing for percussion ensembles.
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Casacio, Lucas Baptista 1980. "Hélcio Milito : levantamento histórico e estudo interpretativo." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284396.
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Orientador: Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação de mestrado tem como objetivo investigar a peculiar interpretação musical do baterista Helcio Milito, importante referência da música popular do Brasil e considerado um dos precursores da música instrumental no país, intencionando definir traços característicos de interpretação que determinem seu idiomatismo musical. A metodologia desse trabalho é constituída de transcrições e análises de performances pertencentes a dois períodos característicos da carreira do artista: 1. O período compreendido entre 1962 a 1964, no qual se inclui os três primeiros LPs do Tamba Trio; 2. O período compreendido entre 1971 a 1990, período em que Milito volta ao Brasil e passa a integrar novamente o Tamba Trio. Esse segundo período também é caracterizado pela gravação de seu primeiro álbum autoral. As análises das performances do músico permitiram a identificação de recorrentes características interpretativas que possibilitaram traçar uma definição acerca do idiomatismo de Milito
Abstract: This master dissertation has as a goal to investigate the peculiar musical interpretation of the drummer Helcio Milito, one of the important musicians of the Brazilian popular music and considered one of the pioneers of the instrumental music in Brazil, aiming to define specific traces of interpretation which can determine his musical idiom. The methodology of this work is based on transcriptions and analyses of performances from two distinctive periods of the Milito's career: 1. The period from 1962 to 1964, where is included the first three LPs of the Tamba Trio; 2. The period from 1971 to 1990, in which Milito was back to Brazil and was incorporated again at Tamba Trio. This second period is also characterized by the recording of his first album as a leader. The analyses of the performances allow the identification of the recurrence interpretative characteristics which make possible to identify the unique musical idiom of the Milito
Mestrado
Praticas Interpretativas
Mestre em Música
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Vigreux, Philippe. "La darbuka : histoire, organologie, ethnomusicologie d'un instrument de percussion." Paris 10, 1997. http://www.theses.fr/1997PA100120.
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Premiere partie: les tambours en gobelet en ceramique des civilisations anciennes: allemagne du centre (chalcolithique), orient ancien, palestine, anatolie, egypte, inde, amerique centrale. Haut moyen-age arabe: les ancetres supposes (kabar, qar'a, dirrij). La darbuka dans les textes. Position de la loi musulmane vis-a-vis des instruments de percussion. L'etymologie du mot drbkt / drbwkt. Deuxieme partie: la filiation des tambours en gobelet: divers schemas evolutionnistes. Caracteristiques sonores des tambours en gobelet (etude acoustique). La fabrication de la tabla au caire (la poterie, la decoration la peau). Typologie des formes existantes. Troisieme partie: role de la darbuka dans les ceremonies familiales (naissance, circoncision, mariage). La darbuka comme instrument privilegie des femmes. Percees recentes de la darbuka dans la musique savante et confrerique: le cas tunisien. Technique et discours: essais de definition (exemples musicaux)First part: the earthenware goblet drums in the ancient world: central germany (chalcolithic period), ancient orient, palestine, anatolia, egypt, india, central america. High arabic middle-ages: the supposed ancestors (kabar, qar'a, dirrij); the darbuka in the texts. Position of islamic law towards percussion instruments. The etymology of the word drbkt / drbwkt. Second part: the goblet drums' line of development: some evolutionistic patterns. The sounding caracteristics of the goblet drums (an acoustic report). The making of the tabla in cairo (the pottery, the ornamentation, the skin). A typology of the extant shapes. Third part: the role of the darbuka in the family celebrations (birth, circoncision, weddings). The darbuka as a women's instrument. New steps of the darbuka into the high music of the cities and brotherhood music: the tunisian example. Technics and improvisation language: towards a definition (musical examples)
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Linwood, Jamie Murray. "The manufacture of tuned percussion instruments in Indonesia and Africa : a selective study." Thesis, London Metropolitan University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282778.
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Broadhurst, James Donald. "The early drum-melodic music of Michael Colgrass and the evolution of the Colgrass drum." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1123272187.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xix, 218 p.; also includes graphics. Includes bibliographical references (p. 177-185). Available online via OhioLINK's ETD Center
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Traldi, Cesar Adriano. "Percussão e interatividade PRISMA : um modelo de esçao instrumento auto-organizado." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283997.
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Orientador: Jonatas ManzolliTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O desenvolvimento tecnológico contemporâneo potencializa a criação de modelos com o objetivo de estudar as possíveis correlações entre os estímulos e as sensações sonoras, visuais e espaciais. Muitos compositores já têm criado processos composicionais explorando estas dimensões, mas isso ainda é incipiente no desenvolvimento de uma nova postura interpretativa de instrumentistas que, normalmente, se apegam somente à especialização virtuosística e, muitas vezes, levando a uma dissociação entre música e outras linguagens artísticas. Assim, partimos do princípio que é possível descrever e estudar a estrutura de uma composição musical através de uma visão sistêmica como um processo no qual agentes desempenham diferentes funções dentro de um sistema. Refletimos sobre o conceito de auto-organização que é vinculado à possibilidade de emergência de padrões e regularidades que ocorrem nas relações estabelecidas entre os agentes de um sistema. O conceito de que a estrutura musical pode ser descrita como um sistema complexo é diretamente empregado no modelo desenvolvido nesta pesquisa. Para estudá-lo criamos um ambiente interativo computacional denominado PRISMA. A proposta conceitual do projeto é que os agentes do sistema se auto-organizam quando desenvolvem um comportamento interativo que molda e dirige suas ações em tempo real e que os influencia mutuamente. Verificamos como uma instalação criada a partir do conceito de auto-organização potencializa o desenvolvimento de uma nova postura interpretativa, o surgimento de organizações sonoras emergentes e, finalmente, a função da improvisação como veículo mediador de expectativas sonoras.
Abstract: The contemporary development in technology makes it possible to create models for studying the correlations between stimuli and auditory, visual and spatial sensations. Numerous composers have already created compositional processes to explore these dimensions, but this is still incipient in the context of theoretical studies in music performance. Performers normally adhere only to a superb specialization, and often, to the dissociation of music and other artistic forms. Thus, we assume that it is possible to describe and study the structure of a musical composition taken Systems Theory view. It is possible to understand music as a process in which different agents play different roles within a system. Here we study self-organization, that describes emergent properties in complex system and it is established among the information agents of a system. The concept that musical structure is a complex system is directly employed in the model developed in this research. For this purpose, we have created a computer-based interactive environment called PRISMA. The conceptual proposal of the project is that agents of the system will be self-organized when they develop a complex interactive process, shaping and directing their actions in real time, influencing and being influenced by other agents. Our study observed not only how the installation based on the concept of self-organization affords the development of performance studies, but also the creation of complex sound organizations, as well as the role of improvisation as mediator of sound expectations.
Doutorado
Mestre em Música
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Craycraft, Jeremy L. "William Russell's Percussion Ensemble Music, 1931-1940." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305820085.
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Campos, Cleber da Silveira. "Modelos de recursividade aplicados à percussão com suporte tecnológico." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284592.
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Orientadores: Jônatas Manzolli, Fernando Augusto de Almeida HashimotoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Dentro da linha de pesquisa de processos criativos voltados à composição e à improvisação por meios acústicos e tecnológicos, a Tese apresenta um estudo focado na aplicação de processos graduais e recursivos para gerar estruturas musicais no contexto da percussão mediada por suporte tecnológico. Do repertório para percussão vinculada à noção de Processo Gradual, conceito criado por Reich (1968), extraíram-se Modelos para Processos Criativos em Percussão (MPCP). O estudo pormenorizado desses modelos permitiu a articulação de nuances, detalhes e diferenças existentes nos processos graduais aplicados à percussão, aqui representada pelo instrumento africano Djembê. O processamento computacional permitiu identificar, organizar, controlar e expandir as diferenças presentes nas estruturas sonoras através da criação de uma Taxonomia de Gestos Musicais Interpretativos (TGMI). Analisou-se o espectrograma para medir as frequências características e as durações das ressonâncias do Djembê. Tais medições, relacionadas às características físicas e geométricas do instrumento e com a parametrização da TGMI, nortearam o desenvolvimento de processos de interação musical. Adotaram-se, ainda, outros dois componentes na metodologia de pesquisa: 1) Modelagem sonora pré-composicional em que amostras sonoras do Djembê foram gravadas, analisadas e relacionadas às possibilidades de controle por computador - procedimento realizado em tempo diferido. O processo de análise foi conduzido à aplicação sistemática dos MPCP em Estudos Recursivos para Improvisação em Tempo Real; 2) Oficinas de criação em que foram relacionados ciclos musicais aplicados ao Djembê e manipulados pela improvisação via programação em Pure Data (PD), em tempo real. Ao final, concluiu-se que o conceito de Processo Gradual de Reich, relacionado aos instrumentos de percussão, foi ampliado com a TGMI desenvolvida durante a pesquisa. O processamento computacional vinculado a recursividade permitiram a manipulação de nuances sonoras encontradas nas oficinas, que produziram novos modelos timbrístico texturais no contexto da performance musical mediada por processos tecnológicos
Abstract: This Thesis presents a research on creative processes focusing composition and improvisation with percussion instruments and technology. It is a study on an application of Music Gradual Processes and recursive structures to musical improvisation. More specifically, it studies works composed for percussion based on the notion of Gradual Process, a concept created by Reich (1968), and extract from them Models for Creative Processes in Percussion (MPCP). The detailed study of these models brought up the possibility of articulating the nuances, details, variations on gradual processes applied to percussion. Further, we apply these models in compositional studies for the African percussion instrument - Djembe. The recursive models enabled to organize, control and expand the variation sound structures through the development of a methodology for a Taxonomy of Interpretive Musical Gestures (TGMI) of the Djembe. We analyzed the spectrogram to measure characteristic frequencies and durations of resonances produced by the Djembe. Such quantitative measures, which are related to the physical and geometrical characteristics of this instrument, enabled musical interaction in real time. In addition to this quantitative analysis, research methodology was based on two other components: 1) Workshops where the Djembe sound samples were recorded, analyzed and related to control via digital technology - procedure performed off-line; 2) Workshops in which they were created music cycles applied to African percussion instruments and manipulated through improvisation, used to generate melodic textural profiles programmatically in Pure Data (PD), a procedure performed in real time. Then the analysis was conducted to a systematic development of recursive MPCP Studies for Improvisation in real time. The Thesis conclusion point out to: Reich's Gradual Process concept, related exclusively with percussion instruments, has been expanded with the TGMI and computer processing enabled creation of new models for timbre and textural improvisation and for studying musical performance mediated by digital technology
Doutorado
Processos Criativos
Doutor em Música
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Torin, Alberto. "Percussion instrument modelling in 3D : sound synthesis through time domain numerical simulation." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/31029.
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This work is concerned with the numerical simulation of percussion instruments based on physical principles. Three novel modular environments for sound synthesis are presented: a system composed of various plates vibrating under nonlinear conditions, a model for a nonlinear double membrane drum and a snare drum. All are embedded in a 3D acoustic environment. The approach adopted is based on the finite difference method, and extends recent results in the field. Starting from simple models, the modular instruments can be created by combining different components in order to obtain virtual environments with increasing complexity. The resulting numerical codes can be used by composers and musicians to create music by specifying the parameters and a score for the systems. Stability is a major concern in numerical simulation. In this work, energy techniques are employed in order to guarantee the stability of the numerical schemes for the virtual instruments, by imposing suitable coupling conditions between the various components of the system. Before presenting the virtual instruments, the various components are individually analysed. Plates are the main elements of the multiple plate system, and they represent the first approximation to the simulation of gongs and cymbals. Similarly to plates, membranes are important in the simulation of drums. Linear and nonlinear plate/membrane vibration is thus the starting point of this work. An important aspect of percussion instruments is the modelling of collisions. A novel approach based on penalty methods is adopted here to describe lumped collisions with a mallet and distributed collisions with a string in the case of a membrane. Another point discussed in the present work is the coupling between 2D structures like plates and membranes with the 3D acoustic field, in order to obtain an integrated system. It is demonstrated how the air coupling can be implemented when nonlinearities and collisions are present. Finally, some attention is devoted to the experimental validation of the numerical simulation in the case of tom tom drums. Preliminary results comparing different types of nonlinear models for membrane vibration are presented.
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Lindblom, Daniel Lee. "A guide for incorporating corps-style percussion." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9933.
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Zhang, Boyu. "Mathematical rhythmic structure of Chinese percussion music : an analytical study of Shifan Luogu collections /." Turku : Turun Yliopisto, 1997. http://catalogue.bnf.fr/ark:/12148/cb38877189v.
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Yuyan, Wang. "Chaozhou Daluogu: Performance, Repertoire, Instruments, Technique, Transmission and Sustainability in an Ancient Chinese Percussion Genre." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367857.
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Chaozhou daluogu a traditional art form involving percussion, wind and string instruments, which originated in the Chaoshan region, South China. The genre revolves around the dagu , the leading drum and conductor of the ensemble. Chaozhou daluogu is deeply embedded in the regional Chaoshan culture through its connection with what is usually referred to as the youshen (god pageant ceremony‘).
From the legendary origins of the tradition – which its master performers trace back to the Tang dynasty – it is said to have kept original elements, but also undergone major change and development. Broadly accepted to have been re-defined to its present form by master Ou Xinu towards the end of the Qing dynasty (1644-1911), in the middle of the nineteenth century, it has been reinvented in a stage performance setting towards the middle of the twentieth century.
This thesis examines the dynamic history and current practice of Chaozhou daluogu primarily from the perspectives of its senior representatives, exploring its origins and development over time, introducing the instruments and performance setups as well as playing techniques, considering both traditional and contemporary repertoire, surveying transmission and learning experiences of major exponents, and trying to provide some insight into the sustainability of the genre into the future.Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium of Music
Arts, Education and Law
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Richardson, Philip. "Acoustic analysis and tuning of cylindrical membranophones." Thesis, Anglia Ruskin University, 2010. http://arro.anglia.ac.uk/189010/.
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This thesis scientifically investigates the setup and tuning of cylindrical membranophones as musical instruments. To date there has been very little quantitative analysis of drum tuning with respect to performance sound, studio recording and music production. Digital signal analysis has been used to quantify a number of acoustic related factors to drum setup and tuning. This is concerned with the evaluation of a drum's free vibration once excitation has occurred. Novel analysis of membranophone response is performed with respect to tuning an 'equalised drumhead'. Such analysis has not previously been performed on cylindrical drums with two heads. The findings show that it is indeed possible to tune a drum to a chosen, uniform frequency response and to a quantified accuracy. With reference to previous, non-scientific literature, the fundamental frequency of each drum in the modern drum kit is shown for the first time to be objectively tunable to correspond to a musical pitch. The research also investigates the role of the resonant head in tuning cylindrical drums. Unique analysis of the interaction between the two membranes shows for the first time that the ratios of the modal frequencies present in a drum sound are not fixed and can be manipulated to more desirable ratios. The fundamental frequently present is shown to be the same for both batter and resonant heads due to the strong coupling effect of the (01) modes. Furthermore the current research shows how this ability to manipulate the frequencies present in the drum can be extended to the drum kit as a whole and how the envelope profile of cylindrical drums with two heads can be manipulated via tuning and damping. This research therefore provides an original contribution to the knowledge of drum tuning for both scientific and musical purposes.
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Nelson, David Paul. "Mrdangam mind the tani āvartanam in Karnatak music /." Ann Arbor, Mich. : UMI Dissertation Information Service, 1991. http://catalog.hathitrust.org/api/volumes/oclc/36660333.html.
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Thesis (Ph. D.)--Wesleyan University, Middletown, Connecticut, 1991."A dissertation in music submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy ..." Includes bibliographical references (v. 1: p. 390-391).
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Lewis, Kevin D. "“The Miracle of Unintelligibility”: The Music and Invented Instruments of Lucia Dlugoszewski." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321641867.
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Thomas, Olivier. "Analyse et modélisation de vibrations non-linéaires de milieux minces élastiques - Application aux instruments de percussion." Phd thesis, Université Pierre et Marie Curie - Paris VI, 2001. http://tel.archives-ouvertes.fr/tel-00005656.
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Les vibrations des instruments de percussion non-linéaires (famille regroupant les gongs et les cymbales) présentent des comportements complexes et des caractéristiques propres aux systèmes non-linéaires en conditions normales de jeu. On peut notamment citer le spectre continu et à large bande en vibrations de grande amplitude et la sensibilité aux conditions initiales. Le but de cette étude est de fournir un début de modélisation de ces structures, en vue de comprendre les mécanismes de génération du son et de contribuer à l'établissement d'un modèle pour la synthèse sonore. Dans une première partie sont présentés des résultats expérimentaux conduits sur un tam-tam chinois, lorsque celui-ci est excité à l'une de ses résonances par une force harmonique. Cela permet d'identifier des phénomènes non-linéaires simples, comme une dépendance en l'amplitude des vibrations de la fréquence des oscillations libres, des résonances hystérétiques associées à des phénomènes de saut entre différents régimes de vibration, et des échanges d'énergie entre modes propres résultant de combinaisons de résonances. Une deuxième partie est consacrée à la modélisation des instruments de percussion par des plaques circulaires élastiques à bord libre, en grand déplacement et rotations modérées. Le modèle non-linéaire de Von-Karman est utilisé et son domaine de validité est discuté. Les équations non-linéaires aux dérivées partielles sont ensuite projetées sur la base des modes propres. Le cas particulier où la vibration n'est gouvernée que par un mode est étudié en détail: un modèle analytique de comportement est établi et validé par une étude expérimentale. Lorsque le mode considéré est asymétrique, le couplage entre les deux modes propres dégénérés est prédit quantitativement de façon très précise, au moyen d'un recalage du modèle. Dans une troisième partie, on étudie des systèmes à un degré-de-liberté, composés de barres élastiques articulées. Une interprétation physique des non-linéarités géométriques est tout d'abord proposée. Ces modèles permettent ensuite d'expliquer les comportements unimodaux du tam-tam. L'influence de la géométrie de la structure (à travers sa courbure et son épaisseur) sur l'incurvation des courbes de résonance et la distortion harmonique des signaux de vibrations est clairement établie.
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Touzé, Cyril. "Analyse et modélisation de signaux vibratoires et acoustiques chaotiques : application aux instruments de percussion non-linéaires." Paris 6, 2000. http://www.theses.fr/2000PA066571.
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Burdett, Kimberley H. "A review of literature and texts relating to the percussion methods course including a proposal for a new text to meet concerns about course content and structure." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180457064.
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Cunha, Hélio Alexandrino Pacheco 1982. "Linguagem e interpretação do samba : aspectos rítmicos, fraseológicos e interpretativos do samba carioca aplicados em estudos de caixa clara." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285217.
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Orientador: Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho parte da compreensão inicial de que o estudo da caixa é um fundamento da bateria. Dessa forma, propõe o estudo do ritmo e da interpretação do samba a partir de estudos e peças de caixa. O trabalho composicional é orientado por conceitos já desenvolvidos pela musicologia sobre a performance do samba em diálogo com os dados levantados pelo autor através das entrevistas aos sambistas cariocas, das transcrições e das experiências musicais vivenciadas pelo próprio pesquisador durante o processo de pesquisa. Ao final do trabalho os estudos e as peças relacionadas têm como principal objetivo explorar a forma de desenvolvimento fraseológico, de "manulação" dos toques e de exploração dos timbres da caixa a partir dos aspectos idiomáticos dos instrumentos de percussão característicos do samba
Abstract: This work starts from the initial understanding that the study of the snare drum is the foundation of the drum study. Thus, we propose the study of the rhythm and interpretation of samba by studies and pieces of snare drum. The compositional work is guided by concepts already developed by musicology on the performance of samba in dialogue with the data gathered by the author through interviews with carioca samba players, the transcriptions and the musical pratice experienced by the researcher during the research process. At the end of the work, studies and related pieces has as the main goals to explore the development of the phrasing, the sticking and the exploration of tones on the snare drum based on the idiomatic aspects of the samba characteristic instruments of percussion
Mestrado
Praticas Interpretativas
Mestre em Música
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Bergamini, Fabio 1975. "Márcio Bahia e a "Escola do Jabour"." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285223.
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Orientador: Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho visa investigar a performance musical do músico Márcio Villa Bahia, focando o período de 1981 a 1993, quando este passou a integrar o grupo do músico Hermeto Pascoal. A partir das entrevistas, transcrições e análises de trechos dos cinco discos gravados nesse período, procuramos identificar as principais características e peculiaridades nas performances de Márcio Bahia dentro desse contexto. Durante esse período de doze anos, Márcio Bahia teve uma intensa convivência com Hermeto e seu grupo ¿ formado por Jovino Santos, Carlos Malta, Itiberê Zwarg e Pernambuco ¿ numa intensa "jornada" de experimentações, ensaios, shows e estudos musicais. Essa espécie de "laboratório" musical foi chamada por Hermeto e pelos próprios integrantes do grupo de "Escola do Jabour"
Abstract: This work aims to investigate the musical performance of the musician Márcio Bahia Villa, focusing on the period from 1981 to 1993 when he joined the ensemble of the musician Hermeto Pascoal. We tried to identify the main features and peculiarities in his performances within the group by interviews, analysis of transcripts and excerpts of the five albums recorded by the group during this period. Márcio Bahia had an intense relationship over twelve years with Hermeto and his group ¿ formed by Jovino Santos, Carlos Malta, Itiberê Zwarg and Pernambuco ¿ in an intense "journey" of trials, rehearsals, shows and musical studies. This kind of musical "laboratory" was called by Hermeto and by the members of the group "School of Jabour"
Mestrado
Praticas Interpretativas
Mestre em Música
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Silva, Catarina Percinio Moreira da. "Sete obras brasileiras inéditas para percussão: concepção, colaboração e o processo de criação de solos para instrumentos marginalizados." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3959.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research is organized into two sections: (A) Artistic Production and (B) Article. The first presents the repertoire and program notes, the final recital – held on April 25th, two thousand and fourteen, and the first recital – runs on September 6th, two thousand and Thirteen. The final recital exclusively presents premieres of this research composers, while the qualification recital was developed entirely with the resulting pieces of lifting repertoire for percussion marginalized instruments. Section B presents the paper, which discusses the experience of a collaborative process between performer-composer in the creation of seven new works for solo percussion. Initially, the theoretical apparatus of collaboration is exposed, sectioning the material raised on four types of approach to collaborative relationship. Then we discuss the choice of instruments and the use of marginalized experimental technique to realization of new compositions, expressing an aesthetic preference that agree Cagean thought that all sound is equally valid, and consequently that any object is likely to be the focus of a solo composition. The second part of the article deals with Call for new works for percussion. Initially displays the call on your part, drawn from the understanding gained in the bibliographical survey about collaborative relationship; then explains the process of selection of participants composers and finally lists with data on each of the seven compositions written for this research, using the following instruments: bass drum, tinplate, geophone, gongs Beijing, lion's roar, tambourine and bass drum. As a result of the registration of all the stages of relationship with composers, the third part of the article presents some examples of influences inherent in the collaborative authoring process, and this binding element in the exchange of information between collaborative pair of scores to specific passages. Attachments as well follow the scores of works, the process of collaboration, recorded in detail over the various stages of the proceedings including documents, emails and records exchanged between the performer and composers.
Este trabalho está organizado em duas seções: (A) Produção Artística e (B) Artigo. A primeira apresenta o repertório e notas de programa, do recital de defesa – realizado dia vinte e cinco de abril de dois mil e quatorze, e do recital de qualificação – executado em seis de setembro de dois mil e treze. O recital de defesa apresenta exclusivamente peças inéditas de alguns dos compositores que colaboraram com esta pesquisa, enquanto que o recital de qualificação foi elaborado inteiramente com as peças advindas do levantamento de repertório para instrumentos de percussão marginalizados. A seção B apresenta o artigo, que discute, detalha e registra a vivência de um processo de colaboração performer-compositor para criação de sete novas obras para percussão solo. Inicialmente, o aparato teórico sobre colaboração é exposto, seccionando o material levantado em quatro tipos de abordagem sobre a relação colaborativa. Em seguida, discute-se a escolha de instrumentos marginalizados e a utilização de uma abordagem técnica experimental, para realização das novas composições, explicitando uma preferência estética que vai ao encontro do pensamento cageano de que todo som é igualmente válido, e consequentemente, que qualquer objeto é passível de ser foco de uma composição solo. A segunda parte do artigo trata da Chamada para novas obras para percussão. Inicialmente apresenta a chamada em sua íntegra, elaborada a partir da compreensão adquirida no levantamento bibliográfico a respeito de relação colaborativa; depois explica o processo de seleção dos compositores participantes; e finalmente apresenta uma lista com dados sobre cada uma das sete composições escritas para esta pesquisa, utilizando os seguintes instrumentos: bumbo, folha de flandres, geofone, gongos de Pequim, rugido de leão, tamborim e zabumba. Como resultado do registro de todas as etapas de relação com os compositores, a terceira parte do artigo apresenta alguns exemplos de influências inerentes ao processo de criação colaborativa, e para tal vincula elementos da troca de informação entre o par colaborativo a trechos específicos das partituras. Como anexos seguem além das partituras das obras, a documentação do processo de colaboração, registrado em detalhes ao longo dos diversos momentos do processo, entre os quais, e-mails e gravações trocados entre a performer e os compositores.
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Kim, Chol-Ho. "Five Seasons: A composition for flutist and percussionist." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20012/kim%5Fchol-ho/index.htm.
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Thesis (M.M.)--University of North Texas, 2001.For flutist (flute, alto flute, piccolo and bass flute) and percussionist performing vibraphone, xylophone, woodblock, glockenspiel and marimba. Includes analysis by composer (p. i-xxxiii). Score includes performance notes. Includes bibliographical references (p. xxxiii).
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Mendes, Helvio Monteiro 1985. "Suite para xilofone e piano de Osvaldo Lacerda : um estudo interpretativo e levantamento histórico do instrumento no Brasil." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285224.
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Orientador: Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação realizou um estudo interpretativo sobre a peça intitulada Suíte para Xilofone e Piano, composta em 1974 por Osvaldo Lacerda, sendo essa a primeira obra no Brasil que eleva o xilofone a um caráter de instrumento de destaque para além do plano orquestral, em duo com piano. Esse estudo interpretativo se baseia na linguagem estética da música nacionalista em que o compositor está atrelado, bem como em outros fatores ligados à análise dos elementos musicais da peça, e discute as decisões interpretativas tomadas e a solução de problemas técnicos instrumentais presentes na obra. Adicionalmente, o estudo sobre a obra serve como pano de fundo para a realização do levantamento histórico do xilofone no Brasil
Abstract: This work intends to perform an interpretative study on Suite for Xylophone and Piano, by Osvaldo Lacerda, composed in 1974. This piece is the first suite written for xylophone in Brazil that elevates this instrument from the orchestral role to a piano duo. The interpretative study is based in nationalist musical¿s aesthetics language, in which the composer was inserted, as well as the analysis of the musical elements of the work, and discusses the interpretative decisions and the solution of technical issues along the piece. In addition, this study serves as background for a historical survey about the xylophone in Brazil
Mestrado
Praticas Interpretativas
Mestre em Música
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Alves, Aline da Silva. "Marlos Nobre : variações rítmicas Opus 15 para piano e percussão, uma abordagem analítica visando à interpretação." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284404.
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Orientadores: Mauricy Matos Martin, Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho aborda a peça Variações Rítmicas opus 15 para piano e percussão típica brasileira do compositor Marlos Nobre. Seu objetivo principal foi realizar um estudo analítico e um mapeamento histórico da peça a fim de proporcionar ao intérprete uma maior intimidade com a obra a ser executada. A metodologia divide-se em duas partes: estudo do contexto histórico sob o qual a obra foi criada e o estudo analítico da obra musical e do seu estilo através da análise da partitura. O estudo do contexto histórico foi realizado a partir de trabalhos que enfocam a biografia sobre o compositor, a revisão da literatura sobre sua obra e de trabalhos que abordam a história da música no Brasil. O estudo analítico teve como referência o trabalho de Jan LaRue (1998) que enfoca o estilo musical através de um estudo descritivo dos elementos musicais que compõem a peça. As sugestões de execução para o pianista, que se encontram no decorrer do texto de estudo analítico, abordam aspectos relacionados à utilização dos pedais, à equalização sonora e às questões técnico-motoras. Na conclusão foi evidenciado como o compositor relacionou elementos dodecafônico-seriais de composição com elementos rítmicos brasileiros e também em quais aspectos o estudo analítico contribuiu diretamente para a execução pianística. Os resultados demonstraram que Variações Rítmicas opus 15 é uma peça que foi claramente influenciada pelo entorno cultural vivido pelo compositor no início dos anos 1960 e, apesar de ser uma peça de juventude, apresenta traços marcantes do estilo composicional de Marlos Nobre como a técnica de variação contínua e o uso de elementos nacionais
Abstract: The historical study was based on the literature concerning the This dissertation deals with the composition Variações Rítmicas opus 15 para piano e percussão típica brasileira [Rhythmic Variations Opus 15 for Piano and Typical- Brazilian Percussion] by Marlos Nobre. Its main objective is to provide an analytical and historical study thus giving the interpreter more detailed knowledge of the piece for performance. The methodology adopted is divided in two parts: a study of the historical context in which the piece was composed and an analytical study of its style through an analysis of the score. composer's biography and his musical output, as well as the music historical context of Brazil. The analytical study is based mainly on the work of Jan LaRue (1998) which focuses on musical style through a descriptive approach of the musical elements that make up the composition. Suggestions of e xecution for the pianist, provided throughout the analytical study, deal with aspects related to pedaling, voicing and technical - motor issues. The conclusion demonstrates how the composer relates twelve - tone serialism to Brazilian rhythmic elements and also in which ways the analytical study contributes directly to the performance of the piano part. The results demonstrate that the Variações Ritmicas Opus 15 is a composition clearly influenced by the cultural environment lived by the composer in the beginning of the 1960's, and although it is a work from his youth, it still presents striking traces of Marlos Nobre's compostional style such as continuous variation and the use of nationalist elements
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Praticas Interpretativas
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Miranda, Mónica Sofia Teixeira dos Reis e. Moura. "Música pop-rock na sala de aula." Master's thesis, Escola Superior de Educação, Instituto Politécnico de Setúbal, 2014. http://hdl.handle.net/10400.26/6488.
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Mestrado em Ensino de Educação Musical no Ensino BásicoEste trabalho é um Projeto Educativo e Investigativo que tem como temática “Música Pop-Rock na sala de aula”. Foi implementado na Escola Básica Barbosa du Bocage em Setúbal numa turma de 2º ciclo, mais precisamente num 6º ano de escolaridade composta por 26 alunos. A partir deste Projeto foi feito um estudo sobre que tipo de aprendizagens artístico-musicais são valorizadas pelas crianças no âmbito da prática musical pop-rock em contexto de aulas de percussão. Este projeto centra-se num trabalho que procura possibilitar em formar na aquisição de conhecimentos de música, sobre música e, através da música contribuir para a motivação e interesse. Defende o ensino da música como contributo para uma educação mais humanizada e integradora, potenciadora do desenvolvimento pessoal e social. Procura-se no presente relatório, descrever o processo educativo e investigativo; analisar e interpretar dados; revelar, de acordo com as limitações do estudo, alterações significativas ao nível das aprendizagens musicais, aprendizagens sociais e situações impeditivas de eficácia; detetar outras perspetivas sobre o Projeto. O objetivo principal do processo investigativo foi examinar que tipo de aprendizagens artístico-musicais foram valorizadas pelas crianças no âmbito da prática musical pop-rock em contexto de aulas de percussão. Durante o período decorrente do projeto de investigação qualitativa, foi necessária a utilização de uma metodologia de investigação-ação com recurso a notas de campo, observação direta e entrevistas aos intervenientes no processo. Em suma, a minha expectativa é que, uma vez consciente do alcance e das implicações desta abordagem relativamente à música pop-rock portuguesa, outros professores, em diversos contextos educativos, possam retirar pontos a serem revistos nas suas próprias práticas pedagógicas, bem como reapropriar as inúmeras propostas de musicalização que surgiram ao longo do século XX e que agora precisam ser revistas com olhares do século XXI.
This work is an Educational and Investigative Project which has as its theme "Music Pop - Rock with percussion instruments ". Was implemented in Barbosa du Bocage School in Setúbal a class of 2nd cycle, more precisely a 6th grade consists of 26 students. With this project a study on what kind of artistic- musical learning are valued by children within the pop -rock musical practice in the context of percussion classes was made. It is a project focused on training in acquiring knowledge of music, about music and through music contribute to the motivation and interest. Defends the teaching of music as a contribution to a more humane and inclusive, potentiating the personal and social development education. It searches in this report, describe the educational and research process, analyze and interpret data; reveal , according to the study's limitations , the significant level of musical learning disorders, social and learning situations impeding efficiency; detect other perspectives on project . The main objective of the research process was to examine what kind of artistic- musical learning were valued by children within the pop -rock musical practice in the context of percussion classes. During the period of the project for qualitative research, using an action-research methodology using the field notes, direct observation and interviews with stakeholders in the process was necessary. In short, my expectation is that, once aware of the scope and implications of this approach to the portuguese pop-rock music, other teachers in different educational contexts, they can draw points to be reviewed in their own teaching practices and reappropriate musicalizacion the numerous proposals that have emerged throughout the twentieth century and now need to be revised looks XXI century.
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Calloway, Cassidy Cheyenne. "Whence Comes the Lady Percussionist? The Changing Role of Females in Professional Percussion Positions in the United States, 2011-2020." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/596.
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Women percussionists have historically been the minority in professional percussion roles. After a discussion of women’s roles as drummers in ancient history, this document reviews the role of women percussionists in the rapidly evolving field of percussion. The purpose of this study was to see if there has been an increase in female percussionists in professional positions since Meghan Aube’s 2011 study, Women in Percussion: The Emergence of Women as Professional Percussionists in the United States, 1930-Present. Because female percussionists have been subject to gender stereotyping of instruments and gender discrimination, this study also aimed to discover if any progress has been made toward the presence of women in percussion education and as performers. In order to update results from Meghan Aube’s study, the personnel lists of the top two tiers of orchestras (the top 11.28 percent of 452 orchestras according to the ranking system established by the League of American Orchestras) were surveyed to find the gender ratio of their percussion sections. Likewise, data collected from the College Music Society directory was used to determine the number of women teaching percussion at universities in the United States. In addition, percussion professors from institutions offering graduate degrees in music were surveyed and asked to provide their experiences with gender discrimination toward female percussionists. This document may serve as a resource for further studies and research on the evolving roles of female percussionists.
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Dias, Guilherme Marques 1978. "Airto Moreira : do sambajazz à música dos anos 70 (1964-1975)." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284523.
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Orientador: Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação investiga a atuação do músico Airto Moreira tendo como enfoque sua performance como baterista, observada num período específico de sua carreira, que vai de 1964 até 1975. São discutidos cinco procedimentos musicais adotados pelo músico de forma recorrente, que são tomados como aspectos distintivos em sua prática, e, portanto vistos como traços característicos de seu estilo. O cruzamento de dados provenientes de transcrições e análises musicais com dados oriundos da história oral compõe a base para esta discussão, cujo objetivo é responder a hipótese central deste trabalho que considera Airto Moreira o principal ponto de contato entre duas importantes gerações de bateristas brasileiros
Abstract: The present dissertation investigates the role of Airto Moreira as drummer, and it is focused on a specific period of his career between 1964 and 1975. Five musical procedures are discussed and taken as distinctive aspects in his playing and therefore seen as specific traits of his style. The musical discussion is placed in perspective by crossing data of transcripts and musical analyzes with information from oral history. This combination of data seeks to answer the hypothesis that considers Airto Moreira the principal link between two major generations of Brazilian drummers
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Praticas Interpretativas
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Gouriou, Hervé. "L'art campanaire en Occident." Paris 8, 2003. http://www.theses.fr/2003PA082352.
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La problématique traitée dans ce travail vise à envisager la cloche de volée, c'est-à-dire apte à se balancer, comme un instrument de musique à part entière, qu'elle soit seule ou regroupée dans un ensemble plus ou moins important appelé "sonnerie". Nous nous sommes concentré sur la campanologie occidentale, et particulièrement sur le cas français, en raison de sa bonne représentativité dans ce domaine. Ce travail est divisé en cinq parties : aspects bibliographiques et musicologiques de la cloche de volée, facture et organologie, statuts et fonctions au cours de l'histoire, aspects esthétiques, situation dans le monde contemporain. L'approche sonore et musicale de la cloche sous-tend ce travail de façon permanenteThe question addressed in this work aims at considering the swinging bell as a music instrument in its own right, whether on its own or integrated into a variably sizeable ensemble called a "peal of bells". I concentrated on Western campanology and more specifically on the French case, because of its wide coverage in this field. This work breaks down into five parts : bibliographic and musicologic aspects of the swinging bell, bell making and study of physical and technical principles of sound, status and function throughout history, aesthetic aspects and current situation. The sound and musical study of bells require such an ongoing work
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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of California, Los Angeles, 2008.CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).
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Soriano, Morales Joan. "Una visión holística del movimiento en el arte de la percusión actual a través de la aplicación de una concepción kinética personal." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/172193.
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[ES] El propósito fundamental perseguido en esta tesis es el de establecer las relaciones entre el movimiento y la interpretación. Se ofrece una perspectiva global del fenómeno, a partir de la concepción holístico-kinética personal centrada en el repertorio actual para percusión.
Las decisiones teórico-interpretativas son fruto de la reflexión y la continua praxis artística y docente realizada a lo largo de los años. Por una parte, a través de recitales tanto como solista como en diferentes proyectos relacionados con la creación, interpretación y difusión del arte de la percusión y por otra, en el desempeño de la función docente como especialista en distintos ámbitos y niveles.
Se establecen las bases conceptuales necesarias para extrapolar unos principios comunes a los diferentes instrumentos o conjuntos de instrumentos a través de la interpretación del gran repertorio contemporáneo. El trabajo de investigación se lleva a cabo a partir del análisis, grabación, entrevistas a grandes intérpretes, estudios y trabajos similares en otros campos asociados por su empleo del movimiento como medio de expresión.
La tesis cristaliza en diferentes resultados y conceptos teórico-prácticos que se ven reflejados en la edición de una partitura, la definición de unos principios generales interpretativos y la grabación en distintos formatos de las diferentes piezas que conforman el corpus principal de estudio. Los registros audiovisuales se agrupan en dos bloques: la edición de un CD de audio con 5 piezas del repertorio contemporáneo para percusión y clarinete bajo, y la grabación de las tres piezas fundamentales de la tesis en formato de video de alta calidad de acceso libre en la red.[CA] El propòsit fonamental perseguit en aquesta tesi és el d'establir les relacions entre el moviment i la interpretació. S'ofereix una perspectiva global del fenomen, a partir de la concepció holístic-cinètica personal centrada en el repertori actual per percussió. Les decisions teòric-interpretatives són fruit de la reflexió i la contínua praxi artística i docent realitzada al llarg dels anys. D'una banda, a través de recitals tant com a solista com en diferents projectes relacionats amb la creació, interpretació i difusió de l'art de la percussió i per una altra, en l'exercici de la funció docent com a especialista en diferents àmbits i nivells. S'estableixen les bases conceptuals necessàries per extrapolar uns principis comuns als diferents instruments o conjunts d'instruments a través de la interpretació del gran repertori contemporani. El treball de recerca es porta a terme a partir de l'anàlisi, gravació, entrevistes a grans intèrprets, estudis i treballs similars en altres camps associats que empren el moviment com a mitjà d'expressió. La tesi cristal·litza en diferents resultats i conceptes teoricopràctics que es veuen reflectits en l'edició d'una partitura, la definició d'uns principis generals interpretatius i l'enregistrament en diferents formats de les diferents peces que conformen el corpus principal d'estudi. Els registres audiovisuals s'agrupen en dos blocs: l'edició d'un CD d'àudio amb 5 peces del repertori contemporani per a percussió i clarinet baix, i l'enregistrament de les tres peces fonamentals de la tesi en format de vídeo d'alta qualitat d'accés lliure a la xarxa.
[EN] The fundamental purpose pursued in this thesis is to establish the relationships between movement and interpretation. A global perspective of the phenomenon is offered, starting from the personal holistic-kinetic conception centered on the current repertoire for percussion. Theoretical-interpretative decisions are the result of reflection and continuous artistic and teaching practice carried out over the years. On the one hand, through recitals both as a soloist and in different projects related to the creation, interpretation and dissemination of the art of percussion and, on the other, in the performance of the teaching function as a specialist in different fields and levels. The necessary conceptual bases are established to extrapolate some common principles to the different instruments or sets of instruments through the interpretation of the great contemporary repertoire. The research work is carried out from the analysis, recording, interviews with great interpreters, studies and similar works in other fields associated with their use of movement as a means of expression. The thesis crystallizes in different results and theoretical-practical concepts that are reflected in the edition of a score, the definition of general interpretive principles and the recording in different formats of the different pieces that make up the main corpus of study. The audiovisual records are grouped into two blocks: the edition of an audio CD with 5 pieces of the contemporary repertoire for percussion and bass clarinet, and the recording of the three fundamental pieces of the thesis in free access high-quality video format in network.
Soriano Morales, J. (2021). Una visión holística del movimiento en el arte de la percusión actual a través de la aplicación de una concepción kinética personal [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/172193
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Alves, Marcelo Jorge Cabral de Mello Dantas. "Formação musical e a inclusão social de crianças e jovens na Orquestra Criança Cidadã." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6616.
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Previous issue date: 2012-05-26Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work is about the Orquestra Criança Cidadã (Child Citizen Orchestra), a nongovernmental organisation that assists children and youngsters aged 4 to 20 who live in the Coque neighbourhood in Recife, Pernambuco. The main purpose of this study is to understand the relationship between the music education received and the social inclusion of these children and youngsters. In order to fulfill this aim, case study method was chosen as the means of collecting data. The results revealed the influence of a social music education on the lives of these children and youngsters, especially regarding their personal relationships and their development as citizens.
Este trabalho teve o objetivo de compreender como se tece a relação entre formação musical e inclusão social de crianças e jovens do Projeto Orquestra Criança Cidadã, que atende crianças e jovens de quatro a vinte anos, oriundos da Comunidade do Coque em Recife, Pernambuco. A pesquisa foi realizada à luz dos conhecimentos de pesquisa qualitativa, tendo como método o estudo de caso e utilizando como instrumentos de coleta de dados a observação, entrevistas com alunos do Projeto e fontes documentais. A pesquisa revelou, para além de aspectos pedagógicos e organizacionais do Projeto, a formação musical social proporcionada a essas crianças e jovens, bem como o sentido dessa formação em suas vidas, principalmente em suas relações pessoais e em seu crescimento enquanto cidadãos.
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Cayer, Daniel. "Identification des facteurs qui influencent le développement de la lecture à vue aux claviers de percussion chez les élèves du secondaire, selon les auteurs qui ont abordé cette question dans la littérature récente." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25156/25156.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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Korth, Arnaud. "Les timbres percussifs comme source d'inspiration à la composition de trois oeuvres." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/27570.
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Ce mémoire de maîtrise porte sur un projet de création dont le fruit consiste en trois œuvres instrumentales récentes ayant pour source d’inspiration les timbres percussifs. Ces trois œuvres sont : 1. Et pourtant elle tourne ! pour quatuor à cordes ; 2. Obsession pour mezzo-soprano, flûte, clarinette, vibraphone, piano, violon et violoncelle ; 3. Au bord de l’eau pour orchestre. De manière générale, ce mémoire présente mes réflexions sur les manières dont le timbre peut servir d’élément de cohésion du discours musical. Plus spécifiquement, ce mémoire traite de mon souci de produire des timbres percussifs par des instruments de non percussion et des timbres non percussifs par des instruments de percussion, le tout en des discours cohérents et intéressants. Quant à la structure même du mémoire, suite à une introduction où sont exposés les origines du projet de création et son cadre théorique, le premier chapitre présente un survol historique de l’évolution du paramètre du timbre et de la place des percussions dans les musiques occidentales. Ce premier chapitre dévoile également un système permettant d’évaluer la qualité percussive d’une sonorité. Le deuxième chapitre présente, à l’aide de nombreux exemples tirés des œuvres à l’étude, les diverses incarnations du timbre percussif aux instruments de non percussion, ou son évitement aux instruments de percussion. La conclusion traite de l’incidence du projet de recherche sur mon langage musical.This master’s thesis examines three of my recent instrumental compositions that use percussive timbres as inspiration. These three pieces are: 1. Et pourtant elle tourne ! for string quartet; 2. Obsession for mezzo-soprano, flute, clarinet, vibraphone, piano, violin and violoncello; 3. Au bord de l’eau for orchestra. This thesis presents my reflections on the parameter of timbre as a mean of strengthening the cohesion of the musical discourse. More specifically, this thesis explores how to generate percussive timbres by non-percussion instruments, as well as non-percussive timbres by percussion instruments, in the context of a coherent and interesting musical discourse. Following an introduction where the origins, objectives and theoretical framework of this creative project are presented, the first chapter lays out my preparatory research, outlining the history of the evolution of timbre and the role of percussion instruments in Western music, as well as building a system to identify and qualify sounds for their percussive qualities. In the second chapter, the pieces are examined and examples are provided. These examinations illustrate how percussive and non-percussive timbres were used. The conclusion discusses the impacts of this creative project on my musical language and future works.
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Santos, Bruno Soares. "Instrumentos marginais de percussão na música contemporânea: uma expansão técnico-interpretativa de instrumentos latino-americanos." Doctoral thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/17030.
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Doutoramento em MúsicaO presente trabalho propõe-se a investigar estruturas interpretativas em obras para instrumentos latino-americanos explorando os conceitos de ‘instrumento marginal’ e ‘literatura menor’. Esta investigação desenvolveu-se através de três estudos de caso. O primeiro estudo de caso concentra-se na obra Temazcal de Javier Alvarez para maracas e tape. O segundo foca-se no repertório para tambores de mão latino-americanos. O terceiro sugere uma estrutura para uma improvisação para pandeiro brasileiro e pedais de efeito.
The present work proposes to investigate interpretative structures in works for Latin-American instruments exploring the concepts of ‘marginal instrument’ and ‘minor literature’. This research was developed through three case studies. The first case study focuses in Javier Alvarez’s Temazcal for maracas and tape. The second concentrates in the repertoire for Latin- American hand drums. The third suggests a structure for an improvisation for the Brazilian pandeiro and effect pedals.
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Bittencourt, Luís Alberto Teixeira. "O uso da água como fonte sonora percussiva: análise da obra "Water Music" de Tan Dun." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/9810.
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Mestrado em MúsicaEste trabalho discute o uso da água como fonte sonora na música contemporânea para percussão e suas técnicas de execução através de excertos musicais da obra Water Music (2004) do compositor Tan Dun (1957). Ao analisarmos o repertório para percussão escrito nos séculos XX e XXI, observamos que uma das características mais proeminentes nas obras que utilizam a água, como uma fonte de som, é a variedade de sons não convencionais que podem ser obtidos. A demanda técnica envolvida neste tipo de composição musical gera questões ao intérprete, uma vez que não são encontradas informações na bibliografia especializada relacionada com o uso de técnicas tão peculiares, exigidas neste tipo de repertório. O conhecimento sobre estas técnicas é obtido, de forma geral, através da tradição oral, o que pode não assegurar informações precisas sobre as possibilidades de performance instrumental sobre este assunto. Assim, o resultado musical corre o risco de nem sempre ser o mais satisfatório, pois nem estudante nem professor dispõem de fontes confiáveis que abordem o assunto de forma específica. O objetivo desta pesquisa é, portanto, investigar e elucidar algumas técnicas que utilizam a água como um genuíno instrumento de percussão. O trabalho inicia com informações acerca da relação entre música e água e as diferentes abordagens dos compositores em relação ao líquido em diferentes épocas. Em seguida, uma discussão sobre as diferentes possibilidades do uso da água no repertório para percussão e as técnicas da percussão aquática empregadas na obra Water Music. Por fim, é realizada uma análise dessa obra abordando questões interpretativas e técnicas de sua performance. Espera-se também que esta investigação possa contribuir para o enriquecimento da informação existente da música contemporânea, onde há uma escassez relacionada ao repertório para percussão aquática em particular.
This paper discusses the use of water as a sound source in contemporary music for percussion and its performing techniques through musical examples from Tan Dunʼs work Water Music (2004). Looking at the percussion repertoire written in the XX and XXI centuries, we realize that one of the most prominent characteristics in the works that use water, as a sound source, is the variety of unconventional sounds that can be obtained. The technical demand involved in such varied musical composition generates questions to the interpreter, since no information are found in the specialized bibliography related to the use of such peculiar techniques, required in this kind of repertoire. The knowledge about these techniques is obtained, in general, via oral tradition, which may not provide accurate information about the possibilities of instrumental performance on this subject. Thus, the final musical result is likely to not always be the most satisfactory, because neither professor nor student can call on reliable sources that broach the issue specifically. The aim in this research is, therefore, to investigate and elucidate some techniques that use water as a percussive instrument. It begins with an overview of relationship between music and water and how water was approached among composers in different periods of time. Then a discussion of different possibilities in water percussion and some key water percussion techniques used in Water Music. Finally, an analysis of Tan Dunʼs work is made addressing technical and interpretative issues about its performance. It also hopes to contribute to the enrichment of existing information in contemporary music, where there is a shortage related to the repertoire for water percussion in particular.
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Soares, Cristina Manuela da Rocha. "Prevalência de lesões músculo-esqueléticas em praticantes de instrumentos de sopro ou percussão." Bachelor's thesis, [s.n.], 2016. http://hdl.handle.net/10284/5689.
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Projeto de Graduação apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Licenciada em FisioterapiaO objetivo do presente estudo foi analisar quais as principais regiões corporais mais apontadas por músicos praticantes de instrumentos de sopro e percussão com dor, com o interesse de perceber se o tipo de instrumento, as horas de prática, a experiência e o género influenciam as queixas sintomáticas destes músicos. O estudo foi realizado na Banda Musical São Martinho de Fajões - Oliveira de Azeméis, com uma amostra de 52 indivíduos, 48 músicos de sopro e 4 músicos de percussão, com idades compreendidas entre os 18 e os 46 anos, utilizando um inquérito para a caracterização da amostra e o questionário Nórdico músculo-esquelético acrescentando a articulação têmporo-mandibular às outras zonas questionadas. A região corporal mais afetada nos últimos 7 dias foi a lombar (50%) nos intérpretes de sopro assim como nos da percussão (75%), não havendo diferenças significativas entre os grupos na dor sentida nas diferentes zonas. No entanto, verificou-se que a zona do pescoço apresenta-se como uma zona de risco para o sexo feminino. Desta forma, a lombar e o pescoço destacam-se como zonas problemáticas apontadas pelos músicos.
The aim of this study was to analyze which body regions are the most frequently mentioned with pain by practicing musicians of wind instruments and percussion, with the interest to understand if the type of instrument, the hours of practice, experience and gender influence the symptomatic complaints of these musicians. The study was conducted in Banda Musical São Martinho of Fajões - Oliveira of Azeméis, with a sample of 52 individuals, 48 wind musicians and 4 percussion musicians, aged between 18 and 46 years, using a survey to characterize the sample and a Nordic musculoskeletal questionnaire adding the temporomandibular joint to others disputed areas. The most affected body region in the last 7 days was the lumbar (50 %) in the interpreters of wind instruments as well as in the percussion (75%), with no significant differences between the groups, in pain experienced in different areas. However, it was found that the neck area is presented as a risk area for females. Thus, the lower back and neck stand out as problem areas identified by the musicians.
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Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.
Full textAbstract:
Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.
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Nichols, Kevin Arthur. "Important works for drum set as a multiple percussion instrument." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2952.
Full textAbstract:
The drum set is an evolving instrument and performance concept that for much of its existence has been relegated to a supporting role for an ensemble or soloist in varied mediums, rather than being used, as is well suited for, in a soloistic capacity. Drum set had rather humble beginnings and was often a collection of percussion instruments used only for time-keeping and adding color to the music. However, over time, a considerable amount of solo literature has been composed for drum set and there now exists a substantial repertoire for the varied forms of the instrument. Support for the literature and art form has come from numerous well known composers ranging from John Cage to Stuart Saunders Smith and Frank Zappa. Unfortunately, resistance to performing these solo works comes from a broad-based teaching philosophy that emphasizes teaching rudimental, time-keeping, and stylistic performance practices. In this particular paradigm, soloing is important strictly as improvisation grounded in a thorough understanding of the development of the language of Jazz, rather than as a performance concept. Although this repertoire does include works that address these pedagogical concerns, it also includes some works that present the drum set in more virtuosic solo setting. These compositions offer the performer musical opportunities much like those found in solo works for snare drum, keyboard percussion, timpani, and multiple percussion. While a performer may face an initial challenge in finding quality existing works, he or she can then develop synergy between the interpretive skills developed for orchestral style percussion In this study, the author will examine the body of literature composed for unaccompanied solo drum set. Specific compositions will be identified for their significance in promoting personal growth as a drum set artist. In support of this goal, analysis of the performance practice used in these particular works will be developed. To aid in better organizing the body of literature, the author will categorize