Relevant bibliographies by topics / Percussion music Percussion instruments

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Percussion music Percussion instruments'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Percussion music Percussion instruments"

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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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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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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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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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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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Dustov, Sanoqul. "The Role Of Uzbek National Performance In The Music Art." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 126–32. http://dx.doi.org/10.37547/tajssei/volume03issue02-20.

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In the article the role of our national percussion words formed on the basis of Uzbek musical performance art in IX-XII centuries in the cultural life of people at all stages of development from generation to generation for centuries, their joy, sometimes accompanying us in our sad days, reaching us in a perfected and perfected form, the necessary influence on the spiritual world of people with the sound of percussion instruments, their place in our modern cultural life.
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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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Vande Veire, Len, Cedric De Boom, and Tijl De Bie. "Sigmoidal NMFD: Convolutional NMF with Saturating Activations for Drum Mixture Decomposition." Electronics 10, no. 3 (January 25, 2021): 284. http://dx.doi.org/10.3390/electronics10030284.

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In many types of music, percussion plays an essential role to establish the rhythm and the groove of the music. Algorithms that can decompose the percussive signal into its constituent components would therefore be very useful, as they would enable many analytical and creative applications. This paper describes a method for the unsupervised decomposition of percussive recordings, building on the non-negative matrix factor deconvolution (NMFD) algorithm. Given a percussive music recording, NMFD discovers a dictionary of time-varying spectral templates and corresponding activation functions, representing its constituent sounds and their positions in the mix. We observe, however, that the activation functions discovered using NMFD do not show the expected impulse-like behavior for percussive instruments. We therefore enforce this behavior by specifying that the activations should take on binary values: either an instrument is hit, or it is not. To this end, we rewrite the activations as the output of a sigmoidal function, multiplied with a per-component amplitude factor. We furthermore define a regularization term that biases the decomposition to solutions with saturated activations, leading to the desired binary behavior. We evaluate several optimization strategies and techniques that are designed to avoid poor local minima. We show that incentivizing the activations to be binary indeed leads to the desired impulse-like behavior, and that the resulting components are better separated, leading to more interpretable decompositions.
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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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Taylor, Donald M. "Refining Learned Repertoire for Percussion Instruments in an Elementary Setting." Journal of Research in Music Education 54, no. 3 (October 2006): 231–43. http://dx.doi.org/10.1177/002242940605400306.

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The purpose of this study was to examine teaching effectiveness in an elementary music setting using student achievement as a dependent measure. Because Orff Schulwerk instruction is one of the most prevalent pedagogies in elementary music education, this study examined the rehearsal strategies of recognized Orff Schulwerk teachers as they worked to refine learned repertoire for percussion instruments. Eight instructors and their upper elementary students were videotaped in four regular rehearsals each. Systematic analyses of rehearsal frames in which teachers were working to improve student performance revealed fast teacher pacing and a predominance of instructional directives that were procedural (e.g., where to begin playing) rather than musical (e.g., how to perform more accurately or expressively). The majority of students' performance problems were related to precision, often caused by rushing the underlying pulse. Instructional targets were most often related to technique. Students successfully accomplished proximal goals in 63 % of the performance trials in which the targets were verbalized by the teacher prior to performance and in 74 % of the performance trials when the targets were verbalized by the teachers while students were playing. Students were most successful when teachers used clear, explicit directives and positive modeling.
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Dissertations / Theses on the topic "Percussion music Percussion instruments"

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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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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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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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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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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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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.
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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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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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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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White, Marc M. "Percussion scoring and orchestration in the wind and percussion ensemble literature of Jared Spears and David Gillingham." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/white%5Fmarc%5Fm/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
Accompanied by recitals, recorded Nov. 14, 1994, Nov. 20, 1995 and Nov. 23, 1999. Includes bibliographical references (p. 115-117) and discography (p. 118-119).
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Books on the topic "Percussion music Percussion instruments"

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Practical percussion: A guide to the instruments and their sources. Lanham, Md: Scarecrow Press, 2005.

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James, Holland. Practical percussion: A guide to the instruments and their sources. New York: Oxford University Press, 2001.

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Larrick, Geary. A percussionist's guide to music--bibliographic essays. Lewiston, N.Y: Edwin Mellen Press, 2002.

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Zhongguo da ji yue. Beijing Shi: Renmin yin yue chu ban she, 1996.

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Dhāḥ bājā, nau bājā va mye yāgu śabda va bola: Neku jātrā cale yāyegu niti. Jāvalākhela: Motilāla Śilpakāra o Parivāra, 2002.

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François, Jean Charles. Percussion et musique contemporaine. Paris: Klincksieck, 1991.

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How to write for percussion: A comprehensive guide to percussion composition. New York: SZSolomon, 2002.

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Monroe, Peggy. Adding percussion to medieval and renaissance music. Littleton, CO: ARS Education Committee, The American Recorder Society, 1996.

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Analytical and biographical writings in percussion music. New York: P. Lang, 1989.

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Matney, Bill B. Tataku: The use of percussion in music therapy. Denton, Tex: Sarsen Pub., 2007.

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Book chapters on the topic "Percussion music Percussion instruments"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "Percussion Instruments." In The Teaching of Instrumental Music, 356–82. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-26.

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Eargle, John M. "Acoustics of Percussion Instruments." In Music, Sound, and Technology, 140–50. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-011-7070-3_8.

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Eargle, John M. "Acoustics of Percussion Instruments." In Music, Sound, and Technology, 147–62. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_8.

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Rossing, Thomas D. "Percussion Instruments." In Encyclopedia of Acoustics, 1653–61. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2007. http://dx.doi.org/10.1002/9780470172544.ch135.

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Moravcsik, Michael J. "Percussion Instruments." In Musical Sound, 187–96. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_13.

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Hartmann, William M. "Percussion Instruments." In Principles of Musical Acoustics, 269–77. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_26.

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Fletcher, Neville H., and Thomas D. Rossing. "Mallet Percussion Instruments." In The Physics of Musical Instruments, 623–48. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_19.

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Morrison, Andrew C., and Thomas D. Rossing. "Percussion Musical Instruments." In Springer Handbook of Systematic Musicology, 157–70. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_9.

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Fletcher, Neville H., and Thomas D. Rossing. "Mallet Percussion Instruments." In The Physics of Musical Instruments, 533–54. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_19.

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Snoman, Rick. "Kicks and percussion." In Dance Music Manual, 201–16. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453830-17.

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Conference papers on the topic "Percussion music Percussion instruments"

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Roy, Uttam Kumar. "Instrumental Bengali music synthesis from transcription with Indian percussion instruments." In 2016 International Conference on Computer, Electrical & Communication Engineering (ICCECE). IEEE, 2016. http://dx.doi.org/10.1109/iccece.2016.8009551.

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Dawalatabad, Nauman, Jom Kuriakose, Chandra Sekhar Chellu, and Hema Murthy. "Information Bottleneck Based Percussion Instrument Diarization System for Taniavartanam Segments of Carnatic Music Concerts." In Interspeech 2018. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/interspeech.2018-1203.

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Kvistad, Garry. "Materials in percussion instruments." In 161st Meeting Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4865241.

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Aimi, Roberto. "Percussion instruments using realtime convolution." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279768.

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Manoj Kumar, P. A., Jilt Sebastian, and Hema A. Murthy. "Musical onset detection on carnatic percussion instruments." In 2015 Twenty First National Conference on Communications (NCC). IEEE, 2015. http://dx.doi.org/10.1109/ncc.2015.7084897.

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Ren, Zhimin, and Ming C. Lin. "Interactive virtual percussion instruments on mobile devices." In VRST '15: 21th ACM Symposium on Virtual Reality Software and Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2821592.2821616.

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Worland, Randy. "Electronic speckle pattern interferometry: Applications to the musical acoustics of percussion instruments." In 179th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001461.

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Pei-Pei Chen, Tzu-Chun Yeh, Jyh-Shing Roger Jang, and Wenshan Liou. "AutoRhythm: A music game with automatic hit-time generation and percussion identification." In 2015 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2015. http://dx.doi.org/10.1109/icme.2015.7177487.

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Sarkar, Mihir, and Barry Vercoe. "Recognition and prediction in a network music performance system for Indian percussion." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279809.

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Kvistad, Garry. "Rhythmic techniques and psychoacoustic effects of the percussion music of Steve Reich." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4863156.

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