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Journal articles on the topic 'Percussion instruments'
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1
Traldi, Cesar Adriano. "Exploração tímbrica em composição para tímpanos solo." ouvirOUver 13, no. 1 (May 25, 2017): 190. http://dx.doi.org/10.14393/ouv20-v13n1a2017-14.
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Apesar de ser o instrumento de percussão mais utilizado no repertório orquestral, os tímpanos foram pouco explorados como instrumento solista até a metade do século XX. A evolução na construção e performance dos tímpanos e o surgimento de novas correntes composicionais no século XX tornaram possível explorações sonoras inovadoras nesse instrumento. Nesse artigo apresentamos uma composição para tímpanos solo onde a exploração tímbrica foi utilizada como principal elemento composicional. As possibilidades aqui descritas demonstram o grande potencial sonoro desse instrumento e a importância da pesquisa sonora no processo composicional para instrumentos de percussão.
ABSTRACT
Despite being the most used percussion instrument in the orchestral repertoire, the timpani were little explored as a solo instrument until the mid-twentieth century. Developments in the construction and performance of the timpani and the emergence of new compositional movements in the twentieth century made possible innovative sound holdings in this instrument. In this paper we present a timpani solo composition where timbral exploration was used as the main compositional element. The possibilities described here demonstrate the great sound potential of this instrument and the importance of sound research in the compositional process for percussion instruments.
KEYWORDS
Tímpani, timbral exploration, extended technique.
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Zekang, Chen. "SYMPHONY CONCERTO FOR PERCUSSION AND ORCHESTRA "SACRED FIRE 2008" BY TANG JIANPING: THE PROGRAM AND ITS INSTRUMENTAL IMPLEMENTATION." Arts education and science 1, no. 4 (2020): 55–62. http://dx.doi.org/10.36871/hon.202004007.
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The article introduces the famous Chinese composer Tang Jianping's "Sacred Fire 2008" Symphony Concerto for percussion instruments for the first time. The composition inherits the principles of a classical concert, in which the idea of a competition between a solo instrument (or a group of instruments) and an orchestra is brought to the fore. The Concerto was written for a triple orchestra with a significant expansion of the percussion instrument group, which are represented by both European varieties and national phono instruments (small Chinese cymbals and Peking Gong), helping the composer to achieve unusual timbre combinations. The soloist's part is also assigned to percussion tools. The considerable expansion of the percussion instruments and their promotion to leading positions is due not only to special attention to their timbre and imaginative capabilities. Among the reasons is the author's desire to establish a connection with ritual music through percussions, which is extremely important considering his special attention to the history and culture of his country. The Concerto is permeated with symphonic development, as indicated by a number of specific features that are revealed through musicological analysis. Special attention is paid to the Concerto program, which was inspired by the XXIXth Summer Olympic Games, but has a deeper meaning — it reflects the worldview of Chinese people and Chinese history.
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Al Tashly, Mohammed Zuhdi, and Nedal Ahmad Obeidat. "A Suggested Method for the Musical Notation of Basic Arabic Percussion Instruments." Dirasat: Human and Social Sciences 50, no. 5 (September 30, 2023): 632–51. http://dx.doi.org/10.35516/hum.v50i5.6111.
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Objectives: The study aimed to propose a standardized method for musical notation of Arabic percussion instruments, following the model of other musical instruments, as well as to provide examples of the method for notation of Arabic percussion instruments.
Methods: This study follows the developmental approach, which involves studying a specific phenomenon and searching for solutions in order to develop effective outcomes for teaching. A musical notation was developed for the basic Arab percussion instruments used in modern Arab music ensembles, including the dhol, katem, riq, and tabla. Proposed models were developed in four lines, and each instrument was used in a way that corresponded to the selected rhythm, using a musical staff consisting of five lines and four spaces. Abbreviations and symbols were also developed to facilitate reading of the fast-paced shapes.
Results: The results showed that a special rhythmic notation line can be assigned to each of the basic Arabic percussion instruments in modern Arab music bands. The rhythmic notation of the group of Arabic percussion instruments is represented in four lines. To ensure clarity and purity of rhythm, the instruments (dahola and katam) can be used to perform basic stress positions, while the instruments (riq and tabla) can be used to play percussive ornaments in addition to the basic rhythmic stresses.
Conclusions: The study emphasizes the important role of Arabic rhythms, and the importance of educating musicians playing them, and not leaving them to improvise without specific musical notation, similar to other musical instruments, in order to control the performance.
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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.
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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.
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Bascoban, Mert Can, and Ozlem Coskun. "Arduino Controlled Digital Percussion Instrument Design." WSEAS TRANSACTIONS ON ACOUSTICS AND MUSIC 10 (May 3, 2023): 1–6. http://dx.doi.org/10.37394/232019.2023.10.1.
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In daily life, musicians and people who want to play instruments cannot find enough time to practice and improve themselves. In addition, acoustic instruments, especially percussion instruments, are very difficult to use at home and indoors. For this reason, a percussion instrument design has been made to meet the needs of a person who aims to improve himself and learn new songs at the beginner level in percussion instruments. As a result of controlling the strip LEDs placed on each pad of the digital percussion instrument with the Arduino Uno, people can play the song they want with smoother touch and minimizing metronome errors.
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Mamcheva, N. A. "Ainu percussion instruments." Languages and Folklore of Indigenous Peoples of Siberia, no. 41 (2021): 32–46. http://dx.doi.org/10.25205/10.25205/2312-6337-2021-1-32-46.
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Ainu people are the indigenous inhabitants of Sakhalin, the Kuril Islands, and Hokkaido. This work aimed to study Russian and Japanese museum funds, analyze musical transcripts performed by the author, and review Russian and Japanese academic literature. The article deals with the percussion musical and sound instruments of the Ainu – idiophones and membranophones. The term “sound instrument” refers to archaic sound instruments that were not usually perceived as musical. They were considered as such only at the moment of their sounding. The author pays special attention to poorly studied instruments, such as a sonic log, sticks, a board, a lacquered barrel lid, rattles, bells, a shaman tambourine, and a beater. The article analyzes the etymology of the names of instruments, structure, material of manufacture, techniques of playing. Most of the Ainu tools were made of wood and had a simple design. Percussion instruments are multifunctional. On the one hand, they performed a musical function – they rhythmically organized a song or recitation. They sounded during the performance of epic legends, various songs. On the other hand, instruments were sacred objects. The author traces their close connection with the worldview, mythological ideas of the ancient people. All of them were associated with the ritual practice: they were used in shamanic rituals, bear holidays, magic actions. Their sounding was thought to provide communication with the spirit world.
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Rufino, Brandon, Ajmal Khan, Tilak Dutta, and Elaine Biddiss. "Musical instrument classifier for early childhood percussion instruments." PLOS ONE 19, no. 4 (April 2, 2024): e0299888. http://dx.doi.org/10.1371/journal.pone.0299888.
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While the musical instrument classification task is well-studied, there remains a gap in identifying non-pitched percussion instruments which have greater overlaps in frequency bands and variation in sound quality and play style than pitched instruments. In this paper, we present a musical instrument classifier for detecting tambourines, maracas and castanets, instruments that are often used in early childhood music education. We generated a dataset with diverse instruments (e.g., brand, materials, construction) played in different locations with varying background noise and play styles. We conducted sensitivity analyses to optimize feature selection, windowing time, and model selection. We deployed and evaluated our best model in a mixed reality music application with 12 families in a home setting. Our dataset was comprised of over 369,000 samples recorded in-lab and 35,361 samples recorded with families in a home setting. We observed the Light Gradient Boosting Machine (LGBM) model to perform best using an approximate 93 ms window with only 12 mel-frequency cepstral coefficients (MFCCs) and signal entropy. Our best LGBM model was observed to perform with over 84% accuracy across all three instrument families in-lab and over 73% accuracy when deployed to the home. To our knowledge, the dataset compiled of 369,000 samples of non-pitched instruments is first of its kind. This work also suggests that a low feature space is sufficient for the recognition of non-pitched instruments. Lastly, real-world deployment and testing of the algorithms created with participants of diverse physical and cognitive abilities was also an important contribution towards more inclusive design practices. This paper lays the technological groundwork for a mixed reality music application that can detect children’s use of non-pitched, percussion instruments to support early childhood music education and play.
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Rossing, Thomas D., and Antoine Chaigne. "Science of Percussion Instruments." Journal of the Acoustical Society of America 110, no. 1 (July 2001): 15. http://dx.doi.org/10.1121/1.1379084.
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Rossing, Thomas D., and Mark French. "Science of Percussion Instruments." American Journal of Physics 69, no. 9 (September 2001): 1020–21. http://dx.doi.org/10.1119/1.1383603.
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Phillips, Robert. "Maerzmusik 2017, Berlin." Tempo 71, no. 282 (October 2017): 85–87. http://dx.doi.org/10.1017/s0040298217000663.
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One particularly engaging historical inquiry at Maerzmusik 2017 was the concert titled Re-inventing Smetak, a concert with two documentary interludes on Brazil-based composer and instrument builder Walter Smetak, as well as premieres of commissions of living composers to write for his instruments, most notably Liza Lim's Ronda – The Spinning World, which integrated Smetak's conceptualisation of the world as ‘polarities of energy flowing across and spiraling around axes of evolution and he built his instruments or Plásticas Sonoras (sound sculptures) to express his complex symbology of spiritual relations’. ‘Across and spiraling around axis of evolution’ referred in part to the sprawling percussion-instrument tree in the centre of the stage with branches of tiny percussion objects dangling from its limbs, and a few scattered barrel-like instruments that made ratchet-like noises when they were turned and rotated by the percussionists. Percussion is already so varied nowadays that one isn't easily engaged by undiscovered instruments from the past, yet Lim's piece also included some sensitive, signature string writing and was able to incorporate Smetak's percussion instruments and jangle and rattle and integrate them at significant formal moments – navigating the physical spectacle on stage and navigating a tricky compositional assignment.
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Bessell, David. "Dynamic Convolution Modeling, a Hybrid Synthesis Strategy." Computer Music Journal 37, no. 1 (March 2013): 44–51. http://dx.doi.org/10.1162/comj_a_00159.
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This article outlines a hybrid approach to the synthesis of percussion sounds. The synthesis method described here combines techniques and concepts from physical modeling and convolution to produce audio synthesis of percussive instruments. This synthesis method not only achieves a high degree of realism in comparison with audio samples but also retains some of the flexibility associated with waveguide physical models. When the results are analyzed, the method exhibits some interesting detailed spectral features that have some aspects in common with the behavior of acoustic percussion instruments. In addition to outlining the synthesis process, the article discusses some of the more creative possibilities inherent in this approach, e.g., the use and free combination of excitation and resonance sources from beyond the realms of the purely percussive examples given.
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Scott, E. K. Ellington. "Drums speak too: An examination of modern percussion instruments in the jazz idiom." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A183. http://dx.doi.org/10.1121/10.0011036.
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Jazz has been a leading force in the evolution of music in the United States. The complexity of rhythmic and harmonic languages has grown from the birth of jazz improvisation. Modern percussion instruments played a fundamental role in the development of rhythmic language. Improvised figures between the soloist and sectionals have cultivated a vocabulary still utilized by modern drummers and percussionists today. Moreover, evolving styles matured into a more sophisticated language, demanding a more refined instrument. This presentation explores the development of modern percussion instruments within jazz and improvised music, focusing on the historical and cultural aspects impacting the evolution of percussion instruments. Investigations of stylistic approaches and influences on musical styles will also be examined.
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Huang, Shuai. "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals, Accompanying Work in China." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 101–17. http://dx.doi.org/10.36340/2071-6818-2022-18-1-101-117.
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The article analyses the principles of using Chinese wind and percussion instruments in the genre of songs accompanying work. The article is devoted to the issue of instrumental accompaniment in the performance of work songs. The focus is on traditional Chinese wind instruments and percussion instruments; issues such as instrumental combinations and musicians are considered. The historical research method and source studies, longitudinal observation, and musicological analysis of audio and video materials were applied. The author concludes that the instrumental accompaniment of work is a rather rare phenomenon found in certain provinces of China. Among them, winds and percussion instruments are the main ones in the performance of work songs. Studying their applied function and artistic expressiveness is worthy of constant and deep research.
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Manoff, Hector Ariel, and Gaston Costa Sanjurjo. "Cymbal for percussion musical instruments." Journal of the Acoustical Society of America 102, no. 5 (1997): 2482. http://dx.doi.org/10.1121/1.420382.
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Battle, A. Kainin. "Mounting arrangement for percussion instruments." Journal of the Acoustical Society of America 91, no. 5 (May 1992): 3088. http://dx.doi.org/10.1121/1.402884.
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Rossing, Thomas D. "New and unusual percussion instruments." Journal of the Acoustical Society of America 109, no. 5 (May 2001): 2366. http://dx.doi.org/10.1121/1.4744325.
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Ondrejka, Vojtěch, Tomáš Gergeĺ, Anna Danihelová, Martin Čulík, Dagmara Bednárová, Marián Schwarz, and Miroslav Němec. "THE IMPACT OF ACOUSTIC OF SELECTED SPACES ON PERCUSSION INSTRUMENTS." Akustika, VOLUME 37 (December 15, 2020): 37–85. http://dx.doi.org/10.36336/akustika20203772.
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The results of the investigation of the room acoustic properties influence on the perception of the sound of percussion musical instruments are presented in the paper. At first, the acoustic properties of two rooms were determined without musical instrument. Subsequently, the acoustic properties of the rooms were determined during the presentation of cajon music. On the base of reverberation time (EDT, T30), Clarity C80, Definition D50 and bass index BI) we can conclude that the room of the Hron cinema is more suitable for musical presentation, but it cannot be considered as ideal one. The Royal Hall of Zvolen Castle has a smaller influence on the sound of a percussion instrument. The influence of room acoustic properties on the resulting sound of the instrument was evaluated only on the base of results obtained with using the objective methods by the physical quantities measurement. Finally, the design of these rooms modification is presented to achieve a better sound quality of percussion instruments.
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Ardedi, Dodo Pratama, and Wimbrayardi Wimbrayardi. "ANSAMBLE PERKUSI (KOMPOSISI MUSIK SMK NEGERI 3 PADANG)." Jurnal Sendratasik 8, no. 1 (July 1, 2019): 25. http://dx.doi.org/10.24036/jsu.v8i1.106415.
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Abstract This work aims to display the creativity of female students in school, and it can be a reference for teachers in developing talents, interests and creativities of female students. The form of this artwork is percussion ensemble, the author will combine the rhythmic patterns of single stroke, double stokes, and triols in 4/4 hours with a simple form. It does not only focus on the instrument itself, the author will also combine with vowels to build atmosphere. Percussion ensemble is a musical composition that is adopted from the game of similar percussion instrument, such execution is very interesting because there is no melody instrument here. the incorporation of the rhythmic pattern of single stroke percussion instrument, dooble stokes, and triols can show a rhythm by exploring it into the percussion instruments used. Percussion ensemble is played by six players that consist of two tambua players, one snare drum player, one floor drum player, one cymbal and cowbell player, one bongo player and one of triangel player. Keywords: Ansamble Perkusi
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Uddhav, Pravin. "Origin, Development, Classification and Historicity of Ancient Percussion Instruments." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 23–30. http://dx.doi.org/10.3126/jfac.v3i1.42492.
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Music has a prominent place in fine arts. This art has been considered as a means of spiritual satisfaction. Apart from material excellence and fame, music has an important place in all the different ways of devotion or worship in India. There have been two main types of worship since ancient times as Vedic and Tantric. The Avanaddha instrument maintains the rhythm in singing, dancing and instrument-playing. Different opinions, legends, stories, statements of the origin of instruments are prevalent but differences are found in them. The article describes the method and material of ancient Avanaddha instruments on the basis of various texts. Thereafter, under the classification of instruments opinion of various scholars on Tat, Ghan, Sushir, and Avanaddha instruments and the various classifications have been mentioned and discussed in detail. The origin and association of ancient Avanaddha instruments is described with reference to various deities. The article lists ancient and medieval Avanaddha instruments. The use of instruments by gods, demons, human beings in various ceremonies, events, worship lessons, war sites, on auspicious occasions is evidently shown with their importance, use and antiquity. A musical instrument with serious sound was used at warrior sites and Yagna. From different sources like; ancient texts & other facts, it can be concluded that since ancient times eastern musical instruments have been used in music right from the beginning of the era. Avanaddha vadya were invented to support the singer, accompany his song, engage his mind more, cover up his faults, and measure his singing activity in Taal.
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Septiyan, Dadang Dwi, and Hadiyatno Hadiyatno. "The Utilization Of Hard Waste As Percussion Learning Media In The Performing Arts Education Study Program Sultan Ageng Tirtayasa University." Jurnal Seni Musik 11, no. 1 (June 30, 2022): 26–31. http://dx.doi.org/10.15294/jsm.v11i1.55030.
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This study aims to develop learning media by using hard waste as a percussion instrument. The use of learning media at the university level is very important in the learning process. Learning media is useful as a tool for students to go through the teaching and learning process of percussion courses. This study uses qualitative analysis methods. Qualitative analysis research method is a research method used to collect, sort, classify, synthesize, make an overview, and create an index. The target of this research is the use of hard waste as a percussion learning medium in the Department of Performing Arts Education, Sultan Ageng Tirtayasa University. This research was carried out on the basis of environmental awareness which was applied by recycling hard waste into percussion instruments. Percussion using hard waste or what can be called Thrash Percussion, is an interesting and all-encompassing form of percussion that has been designed with the hope that anything that is no longer useful can still be used as a recycled musical instrument
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Ikromov, Ilhom. "Activity Of Classes Of Doira And Percussion Instruments At The State Conservatory Of Uzbekistan." Eurasian music science journal, no. 2 (October 20, 2021): 21–28. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/65.
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The class of doira and percussion instruments has been operating at the State Conservatory of Uzbekistan for many years. In this case, students are required not only to learn to play doira, but also to master the technique of playing percussion instruments. Today, Uzbek composers consider it necessary to include these instruments in the score of symphonic orchestras. The article describes the activities of the class of doira and percussion instruments at The State conservatory of Uzbekistan, modern requirements and tasks for young musicians and students alumni.
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Dudnyk, Ye. "FORMS OF COLLECTIVE MUSIC PLAYING ON PERCUSSION INSTRUMENTS IN MUSIC SCHOOLS." Aesthetics and Ethics of Pedagogical Action, no. 28 (December 19, 2023): 186–95. http://dx.doi.org/10.33989/2226-4051.2023.28.293182.
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The article considers significant aspects of the organization of collective music-making on percussion instruments in music schools. Its purpose, tasks, and stages of learning are formulated according to age periodization. The author classifies percussion instruments, traces their evolution, and emphasizes new playing techniques that appeared as a result of the development of instruments and creative experimentation with sound. Different forms of collective music making are analyzed, such as march, classical, modern, and Latin American ones. It is emphasized that each of them has its own characteristics and advantages, but all of them can be successfully used to create educational music groups in music (art) schools. Crucial aspects of rehearsal methods and pedagogical strategies aimed at developing the musical skills and social skills of percussion ensemble members are revealed. Particular attention is paid to the choice of repertoire, the technique of playing percussion instruments, the development of students' listening skills and artistry, the coordination of musicians in the team, the interaction of teachers and students, the role of teachers in creating a musical and educational environment and a favorable atmosphere in the ensemble. The positive impact of collective music-making on the intellectual and psycho-emotional development of students studying in the percussion class has been revealed. New ideas are proposed that will contribute to scientific and methodical approaches improvement into the organization of collective music-making on percussion instruments.
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Rossing, Thomas D. "Acoustics of percussion instruments: Recent progress." Acoustical Science and Technology 22, no. 3 (2001): 177–88. http://dx.doi.org/10.1250/ast.22.177.
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D. Rossing, Thomas, Junehee Yoo, and Andrew Morrison. "Acoustics of percussion instruments: An update." Acoustical Science and Technology 25, no. 6 (2004): 406–12. http://dx.doi.org/10.1250/ast.25.406.
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Berdahl, Edgar J. "Expressively actuated percussion instruments and interfaces." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 4157. http://dx.doi.org/10.1121/1.4831236.
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DOUTAUT, V., and A. CHAIGNE. "Numerical simulations of bar percussion instruments." Le Journal de Physique IV 04, no. C5 (May 1994): C5–613—C5–616. http://dx.doi.org/10.1051/jp4:19945131.
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Abe, Hiroyasu. "Wooden bars arranged for percussion instruments." Journal of the Acoustical Society of America 118, no. 1 (2005): 30. http://dx.doi.org/10.1121/1.1999439.
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Ligoriya, A., and S. Priya. "The Percussion Instruments of Sangam Tamils." Shanlax International Journal of Tamil Research 7, no. 1 (July 1, 2022): 39–43. http://dx.doi.org/10.34293/tamil.v7i1.4918.
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Among the various arts that appeared in the world, music was the first to appear. Tamils led a life in harmony with music. When man first came with animals and hunting industries, music was only a sound signal and it was directly related to their labor. They believed that playing musical instruments would increase the hunting industry. They lived by sharing the food they got from hunting. Humans expressed their inner joy through dancing and making sounds. Tamils have been able to compare the sounds made by birds, animals, beetles, toads and waterfalls with the sound of musical instruments. This article examines how the people of the Sangam period used percussion instruments after realizing them.
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Smith, Gareth Dylan, and Virginia Wayman Davis. "A Critical Examination of Percussion and Drums in the Collegiate Curriculum." Bulletin of the Council for Research in Music Education, no. 231 (January 1, 2022): 25–40. http://dx.doi.org/10.5406/21627223.231.02.
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Abstract The drum kit is a musical instrument comprising various items of percussion. It is ubiquitous in popular music (the majority of music produced and consumed by contemporary society) but is largely excluded as a requirement in the collegiate percussion studio. The authors contextualize this phenomenon in the wider cultural disparity between music in society (99% rock, pop, hip-hop and other contemporary styles) and music in higher education (almost exclusively Western art music and jazz). We ask the following four research questions: (1) How frequently is drum kit taught in the collegiate percussion studio, relative to other percussion instruments? (2) If drum kit is taught, what topics are taught? (3) If the participants play drum kit themselves, how did they learn? (4) What opportunities and/or challenges exist for drum kit instruction in the percussion studio? Fifty collegiate percussion instructors completed an online survey. Participants agreed that drum kit is important for music-making and teaching after leaving college, but for most, drum kit takes a backseat to snare drum, timpani, and marimba as foundational instruments of Western art music. We argue that including drum kit in the collegiate studio would require a shift in pedagogy and aesthetic orientation, but that such shifts are necessary in order for the collegiate percussion studio to remain relevant. Further research is required to understand how the percussion studio and higher music education more broadly can better serve students and society, including in music teacher education and in kindergarten through 12th grade schools. This article's exploration of drum kit and percussion underscores the importance of discussing the places and purposes of myriad musics and musicians throughout music education contexts.
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Chao, Wang. "The Integration of National and Western Percussion Instruments in Terms of Traditional Opera Music." Университетский научный журнал, no. 78 (February 16, 2024): 60–66. http://dx.doi.org/10.25807/22225064_2024_78_60.
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National instruments of China, including percussion, have a long history of development, however, with the beginning of the era of openness, Western percussion began to be actively used in musical culture. As part of the article, the author analyses the history of the integration of national and Western percussion instruments and their use in Peking opera music. The relevance of the study is determined by the lack of special studies in the Russian-language literature on the integration of Chinese and Western percussion accompanied by opera productions in China.
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Ralo, Ganna. "Innovative teaching methods applicable at the classes of percussion instruments." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 2 (131) (June 25, 2020): 14–22. http://dx.doi.org/10.24195/2617-6688-2020-2-2.
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About 100 years have passed since the first classes of percussion instruments appeared. In the early days, when professional training intended for percussion performers dated to, teachers faced a large number of problems, in particular, lack of a full set of percussion instruments in the classroom, the availability of instructive, educational, pedagogical and concert repertoire alongside scientific and methodological literature. As a result, the work of the first educators was based, first of all, on their personal pedagogical experience and many years of performing practice. In this regard, the appearance of the first teaching aids was a milestone in the development of professional training in playing percussion instruments. For a century-long period, not so much educational and methodological literature has appeared, which was conditioned by a number of objective and subjective factors. At the same time, each methodological manual has taken its rightful place in the development of teaching methods for playing the percussion instruments. However, time is relentlessly moving forward and, unfortunately, today, they have become less in demand, as they do not always meet the modern requirements and approaches to teaching how to play the percussion instruments. Today, Ukrainian scientists and teachers have free access to a large amount of information. Therefore, they have an opportunity to familiarise themselves with interesting developments of our foreign colleagues. However, in most cases, they cannot be used in domestic pedagogical practice, as they are not adapted to the current realities of the educational system of Ukraine due to various socio-economic and cultural factors. Thus, the issues related to the need to search for the most effective forms, methods, and approaches to teaching how to play the percussion instruments is of particular importance and relevance. The article is devoted to the methods based on the playing form of instructions which are used in schools of aesthetic education and, in particular, at the classes of percussion instruments. The purpose of the work is to present new promising areas in teaching percussion playing, based on the author’s pedagogical practice. These methods were used in the study: analysis, observation, deduction and induction. The following issues are considered in the article: the influence of learners’ age characteristics on the choice of teaching methods, the essence of the group form of training and its importance for activating the pedagogical process, traditional and non-traditional approaches to teaching / learning, as well as the analysis of the methods that are widely used in the author’s teaching practice at the classes of the percussion instruments playing. As a result of the study, some new ideas were proposed related to the training at the initial stage and the ways of their implementation by introducing the methods of collective listening, imitation, “playing with the ball”, “sweet tooth”, etc. into the pedagogical practice.
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Fedotova, I. V., and M. K. O. Manafov. "GENERATION OF PERCUSSION INSTRUMENT PARTS USING A NEURAL NETWORK." Applied Mathematics and Fundamental Informatics 7, no. 3 (2020): 029–37. http://dx.doi.org/10.25206/2311-4908-2020-7-3-29-37.
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This article discusses the automation of the process of creating batches of percussion instruments using a neural network. The LSTM neural network for generating drum parts is considered as a tool. The results of the conducted studies allow us to conclude that despite the ability of the LSTM neural network to generate percussion instrument parts with a stable rhythm, the quality of the generated parts is inferior to the quality of human-made parts.
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Tanyeri, Bekir. "USING OF EDITING AND TIME BASED PROCESSORS IN PERCUSSION INSTRUMENTS." E-journal of New World Sciences Academy 14, no. 2 (April 29, 2019): 85–99. http://dx.doi.org/10.12739/nwsa.2019.14.2.d0228.
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Myers, Arnold, and Jeremy Montagu. "Bate Guides. Flutes. Reed Instruments. Brass Instruments. String Instruments and Keyboards. Percussion." Galpin Society Journal 40 (December 1987): 78. http://dx.doi.org/10.2307/841176.
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Yudha, Kiki Devista, and Jagar Lumbantoruan. "HUBUNGAN HASIL BELAJAR TEORI MUSIK DASAR DAN PRAKTEK INSTRUMEN PERKUSI DI JURUSAN SENDRATASIK." Jurnal Sendratasik 9, no. 3 (September 3, 2020): 37. http://dx.doi.org/10.24036/jsu.v9i1.109303.
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Abstract This study aims at finding out the correlation between learning outcomes in music theory subject and percussion instrument practice subject in the Department of Drama, Dnace and Music Arts. This quantitative research used a correlational method involving two variables, i.e. the learning outcomes of music theory subject and the learning outcomes percussion instrument practice subject. The population in this study was the students of Department of Drama, Dance and Music Arts, Faculty of Languages and Arts, Universitas Negeri Padang whi took Music Theory subject in the even semester of 2017-18 academic calendar. Meanwhile, the sample in this study was the students of the Department of Drama, Dance and Music Arts who took the Percussion Instrument Practice subject in the even semester of 2018-19 academic calendar. The data of this study were documentation of the students’ learning outcomes in music theory and percussion instrument practice subjects which were processed using the Pearson product moment correlation test method. The results of data analysis showed that the value of the correlation test was 0.1013 or 10.13%. This coefficient value was based on the interpretation of the coefficient values in the range 0.00 – 0.19, indicating that the level of correlation between music theory subject and percussion instrument subject was very weak. Using a significance test with an error level of 5%, the results of the hypothesis testing showed that rcount ˂ rtable, indicating that Ha was accepted and Ho was rejected. This means that there is a correlation between the learning outcomes of music theory subject in its application to the practice of percussion instrument, but in a very weak level.Keywords: relationships, learning outcomes, basic music theory, percussion instruments
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P, Divyarupasarma. "An Overview of the Percussion Instrument Mridangam and its Rhythm." International Research Journal of Tamil 4, S-9 (July 27, 2022): 51–56. http://dx.doi.org/10.34256/irjt22s97.
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The "Harmonious Tune and Rhythm" are music's two ears. Rhythm is what determines the time scale of musical compositions. If the rhythm is wrong, the controls of the music will not be in order. Rhythm is what keeps music under control. In classical music, pitch is equated with mother and rhythm is equated with father. Pitch instruments include string instruments, wind instruments. Rhythmic instruments include the drums, jal tarang, cymbals, and string instruments. Some great geniuses have said that rhythm is the life of music. Through ancient literature, we learn about the formation of leather musical instruments, their structure, and their use. Leather instruments were used in various stages of human life. Musical instruments such as Thannumai (one-headed drum), Muzhavu (tomtom-large drum), Matthalam (big drum) and Mridangam (percussion instrument) have been developed as primary instruments in classical music syllabuses, stage performances and percussion instruments. References to musical instruments such as Thannumai, Mozhavu, Matthalam, and Mridangam are found in literary texts such as' Tolkaappiyam, Silapathikaram, Pancha Marabu.’ In ancient times, tools were made from clay. At present, they make instruments out of glass, wood, and fibre wood. They form joints in the skins of animals. Rice and iron powder are used for the sound. In this period, the names of Tannumai, Muzhavu, and Matthalam are changed to Mritangam. Literary messages of Mridangam, thong used for tying, right side joint, left side joint, method of putting rice, trees used, and words used can be seen in this study.
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Morrison, Andrew C. "A look back at the development of the steelpan and related instruments." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A183. http://dx.doi.org/10.1121/10.0011037.
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One of the most significant acoustic instruments developed in the 20th century was the Caribbean steelpan. The steelpan family originated from the islands of Trinidad and Tobago when the islands were a British colony. Because musical traditions on the island were heavily reliant on percussion, local musicians quickly adopted the new drum type. Other factors contributing to the development of the steelpan family include the oil drilling industry and the use of the islands as naval facilities leading up to the second world war. The steelpan has primarily always been tuned by hand by individual tuners, as attempts to mass-manufacture the instruments have largely failed. The most recent innovations in steelpan construction contributed to the development of the instrument known as the Hang, a hand-played instrument. The popularity and scarcity of the Hang have given rise to a new percussion instrument known as the handpan.
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Zappi, Victor, Andrew Allen, and Sidney Fels. "Extended Playing Techniques on an Augmented Virtual Percussion Instrument." Computer Music Journal 42, no. 2 (June 2018): 8–21. http://dx.doi.org/10.1162/comj_a_00457.
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Innovation and tradition are two fundamental factors in the design of new digital musical instruments. Although apparently mutually exclusive, novelty does not imply a total disconnection from what we have inherited from hundreds of years of traditional design, and the balance of these two factors often determines the overall quality of an instrument. Inspired by this rationale, in this article we introduce the Hyper Drumhead, a novel augmented virtual instrument whose design is deeply rooted in traditional musical paradigms, yet aimed at the exploration of unprecedented sounds and control. In the first part of the article we analyze the concepts of designing an augmented virtual instrument, explaining their connection with the practice of augmenting traditional instruments. Then we describe the design of the Hyper Drumhead in detail, focusing on its innovative physical modeling implementation. The finite-difference time-domain solver that we use runs on the parallel cores of a commercially available graphics card and permits the simulation of real-time 2-D wave propagation in massively sized domains. Thanks to the modularity of this implementation, musicians can create several 2-D virtual percussive instruments that support realistic playing techniques but whose affordances can be enhanced beyond most of the limits of traditional augmentation.
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Stevens, Leigh H. "Resonator tuning adjustment for keyboard percussion instruments." Journal of the Acoustical Society of America 89, no. 5 (May 1991): 2484. http://dx.doi.org/10.1121/1.400855.
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Han, Ki-Yul, Sang-Bum Park, and Jun Kim. "Interactive Interface for Virtual Korean Percussion Instruments." Journal of Korea Multimedia Society 14, no. 11 (November 30, 2011): 1500–1506. http://dx.doi.org/10.9717/kmms.2011.14.11.1500.
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Tucker, Nancy. "Selected percussion additions for stringed musical instruments." Journal of the Acoustical Society of America 112, no. 4 (2002): 1240. http://dx.doi.org/10.1121/1.1520947.
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Ли, Ц., and Н. В. Медведева. "THE ISSUE OF THE PERCUSSION INSTRUMENTS CLASSIFICATION." Music Journal of Northern Europe, no. 3(31) (April 8, 2024): 85–96. http://dx.doi.org/10.61908/2413-0486.2022.31.3.85-96.
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В статье рассмотрена проблема классификации ударных инструментов, критерии систематики Хорнбостеля-Закса, по наличию/отсутствию определенной высотности, по способу звукоизвлечения. Особое внимание уделено связи любой классификации с ценностями соответствующей исторической эпохи. Выдвинута гипотеза о предпочтительности той или иной классификации в связи с её практическими целями. The article considers the issue of the percussion instruments classification, the Hornbostel-Sachs system criteria, by the presence/absence of a certain pitch, by the method of sound production. Special attention is given to the connection of any classification with the values of the corresponding historical epoch. A hypothesis about the preference of a particular classification in connection with its practical purposes is put forward.
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Anh, Luu Hoang, and Bui Hoang Tan. "Application of Homemade Percussion Instruments into Nursery Rhymes in Music Activities for Preschool Children: A Case of Can Tho City: Southern Vietnam." International Journal of Research and Scientific Innovation XI, no. III (2024): 436–47. http://dx.doi.org/10.51244/ijrsi.2024.1103031.
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As recycled materials have increased inexorably in recent years, using daily waste products to make homemade percussion instruments has emerged as a topic of interest in music education. This article details six homemade percussion instruments (including a small drum, coconut shell, two shaking instruments, castanets, and claves) and how to use them in children’s songs, especially nursery rhymes that originated in Southern Vietnam. An experiment using these instruments in music activities for preschool children in Can Tho City was conducted with feasible outcomes and positive feedback.
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Noviyanti, Putu Intan, Ni Luh Nopi Andayani, M. Widnyana, and Luh Made Indah Sri Handari Adiputra. "THE CORRELATION BETWEEN THE USE OF BATTERY PERCUSSION INSTRUMENTS WITH THE LOW BACK PAIN MYOGENIC COMPLAINT OF THE PERCUSSION DIVISION PLAYERS OF THE MARCHING BANDS IN DENPASAR AND BADUNG." Sport and Fitness Journal 8, no. 3 (September 29, 2020): 196. http://dx.doi.org/10.24843/spj.2020.v08.i03.p12.
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Background: Low back pain (LBP) is a kind of complaint which is easily found in human’s daily life. An activity of carrying something can be one of factors causing the low back pain. Many people uphold some things more than the normal limit by using a wrong way and even doing it for a long duration. A battery percussion player is required to uphold and sustain a battery percussion instrument with an upright standing position and for quite a long time. It can cause the low back pain. Purpose: to find out the correlation between the use of battery percussion instruments with the low back pain myogenic complaint of the percussion division players. Method: This study used an observational analytic method with cross sectional approach which applied a saturation sampling technique. The number of the sample was 90 people divided into 3 groups: snare drum, quint tom/ multi toms and bass drum in which each group contained of 30 people. The data collection was conducted by filling out a questionnaire to diagnose and measure the pain scale with VAS. The hypothesis test was done using bivariate analysis with a chi-square test. Result: The result of the study shows that the bivariate analysis with the chi-square test finds out that the value is p < 0.05. Furthermore, the low back pain percentage of the snare drum is 63.4%; the quint tom/multi toms is 100%; and, the bass drum is 90.1%. Conclusion: Based on the result of the study, it can be concluded that there is a correlation between the use of battery percussion instruments and the low back pain myogenic complaint of the percussion division players of the marching bands in Denpasar and Badung.
Key Words: Low Back Pain, Marching Band, Battery Percussion, VAS.
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Kazantsev, Andrey Sergeevich. "DRUMMER’S PHYSIOLOGY. INDIVIDUAL APPROACH TO THE CHOICE OF TECHNIQUES AND SITTING AT THE DRUM KIT WITH THE CONSIDERATION OF MUSICIAN’S PHYSIOLOGICAL CHARACTERISTICS." Вестник Восточно-Сибирского государственного института культуры 152 (December 11, 2023): 128–34. http://dx.doi.org/10.31443/2541-8874-2023-3-27-128-134.
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The drum is one of the most spectacular instruments that unites musical com-position, filling it with rhythm, drive and dynamics. Historically, the drum was the instrument of communications and warnings about danger, part of military affairs. Some issues of physiological work in forming an effective technique for holding sticks, sitting of the performer and his footwork have arisen when using drums in everyday practice and in training drummers. The article con-siders the key directions of work at the class of percussion instruments: vari-ants of locks and techniques for holding (German and French) percussion sticks, features of sitting at the drum kit and the technique of playing with feet that allow to form the musician’s correct sitting excluding physiological clamps of the apparatus.
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Ajeng Ninda Uminar. "The Use of Percussion Instruments to Improve Musical Intelligence of Young Children." Journal of Childhood Development 3, no. 1 (March 31, 2023): 30–38. http://dx.doi.org/10.25217/jcd.v3i1.3282.
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Musical intelligence is one of the essential aspects that should be given to children. With music, children can easily remember and manipulate patterns of musical forms. Music will primarily affect human life in the form of musical rhythms, musical instruments, and songs. Therefore, to improve musical intelligence in early childhood, an educator must use percussion instruments to improve children's musical intelligence. One way to improve it is to use percussion instruments, where percussion instruments are hit musical instruments found by children in the surrounding environment and can have a positive and educational influence on early childhood. This research was conducted at Raudhatul Atfhal Baitul Umi Pajaresuk Pringsewu in group B1 students. This research is a Classroom Action Research with a descriptive qualitative research type. The formulation of the problem that the author proposes in this study is "Whether the use of percussion musical instruments can increase the musical intelligence of children in group B1 RA Baitul Umi Pajaresuk Pringsewu. The research subjects were 20 students in group B1, while the object of research was early childhood musical intelligence. Based on the research results at RA Baitul Umi Pajaresuk Pringsewu, it can be concluded that using percussion musical instruments can improve children's musical intelligence at RA Baitul Umi Pajaresuk Pringsewu in the 2016-2017 school year with excellent results. This can be seen from the musical intelligence of students where in the pre-cycle of research, it can be seen that students who achieve very well development do not exist from all students totaling 20 students. Then in cycle I, students with perfect musical intelligence improvement still have not shown results. And in cycle II, it increased again to 1 learner or 80% of learners who had reached the predetermined assessment standards.
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Sarah, Lia Laela, Winny Liliawati, and Siti Sriyati. "An Ethnoscience Exploration of Terbang Gembrung Percussion From Kampung Naga, West Java and the Potential as Local Context in Physics Education." Jurnal Pijar Mipa 19, no. 3 (May 21, 2024): 437–44. http://dx.doi.org/10.29303/jpm.v19i3.6751.
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This research aims to explore the ethnoscience of the Terbang Gembrung percussion instrument of the indigenous community in Kampung Naga, Tasikmalaya, West Java, and its potential as a local context in physics education. The Terbang Gembrung percussion instrument of Kampung Naga employs an acoustic membrane of goat leather with an air column of albasia or manglid wood. The research methodology encompasses qualitative descriptive methods, including literature study and interviews, as well as observation methods involving the measurement of sound frequency generated using the Decibel X smartphone application under conditions where the instrument produces typical sound. The Terbang Gembrung tradition holds religious value and is commonly performed during significant celebrations such as Eid al-Fitr, Eid al-Adha, and other religious festivities. Based on the observation results, it was found that four types of percussion instruments produce sound frequencies at four harmonic levels according to the membrane size. The first harmonic has a frequency of approximately 199.0 Hz, the second harmonic around 211.5 Hz, the third harmonic approximately 231.5 Hz, and the fourth harmonic around 261.0 Hz. The design of the percussion instrument is in the form of a half-spherical cone, with the cross-sectional area decreasing from the membrane to the end of the air column. The potential application of science principles to the Terbang Gembrung percussion instrument makes it a cultural artifact that can serve as a local context in physics education at the high school level, focusing on the topics of sound waves, especially sound intensity and sound frequency.
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Diago Jiménez, José María. "The Importance of Literary Sources in the Pictorial Tradition of the Beatus Manuscripts: The Case of Percussion Musical Instruments." Religions 15, no. 1 (December 26, 2023): 40. http://dx.doi.org/10.3390/rel15010040.
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This work carries out a detailed analysis of the context and the reasons that led the illustrators of the Beatus manuscripts to select and represent the two percussion instruments that appear in the illustration of Visio III of the Commentary on the Book of Daniel by Jerome transmitted in some manuscripts since the number of percussion instruments drawn and their typology do not correspond to what can be read in Jerome’s text, in the biblical text, and in the existing bibliography on the subject. This fact cannot be explained solely on the basis of the preceding pictorial tradition or the organological reality of the time, as the absence of sources does not allow for this. However, the literary sources of that period may have influenced the illustrators of this scene to draw these two percussion instruments.
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Howard, Karen. "Performing Rhythms of the Brazilian Bateria." General Music Today 33, no. 1 (August 24, 2019): 52–56. http://dx.doi.org/10.1177/1048371319867426.
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Bateria (bah-teh-REE-ah) means drum set in Portuguese. In terms of Brazilian samba music, the bateria is the percussion ensemble driving the groove of the whole samba band. Organizing a batucada (bah-tooKAH-dah), a Brazilian percussion jam session, is possible in general music classes throughout elementary and secondary school. The necessary instruments are easily available through percussion and educator websites. In addition, quality online tutorials are easily accessible.
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Nunn, Tom. "Electroacoustic Percussion Boards: Sculptured Musical Instruments for Improvisation." Leonardo 21, no. 3 (1988): 261. http://dx.doi.org/10.2307/1578653.
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