Dissertations / Theses: 'Percussion'

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Drege, Lance M. "The University of Oklahoma Percussion Ensemble Commissioning Series and Percussion Press, 1978-1999 : an examination of its history /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 2000.

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2

Olson, Lawrence Gerard. "Percussion recital." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27381.

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Cudd, Patti J. Madsen Pamela Phillips Nathaniel. "A percussion module /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9839493.

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Thesis (D.M.A.--Music)--University of California, San Diego, 1998.
Dissertation consists of an analysis of four pieces for solo percussion: The king of Denmark by Morton Feldman; 27'10.554" by John Cage; The red shoes by Pamela Madsen; and Four passions by Nathaniel Phillips, as well as a recording of the corresponding percussion recital. Vita. Includes the scores to two works for solo percussionist commissioned for this dissertation recital: The red shoes by Pamela Madsen and Four passions by Nathaniel Phillips. Videocassette is sound only in Beta format. Recital performed on May 5, 1997 at UCSD. Includes bibliographical references.

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Hernly, Patrick Michael. "World Percussion Approaches in Collegiate Percussion Programs: A Mixed-methods Study." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4070.

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As world percussion has grown in popularity in American colleges and universities, two main problems have emerged. The first problem is that no known source exists detailing how percussion instructors have incorporated world percussion into their collegiate teaching. A review of the literature has highlighted four main approaches to incorporating world percussion in collegiate percussion programs: applied study, group performance, travel experiences, and guest expert visits. The second problem is that systematic research on world percussion traditions has been carried out much more often by music education researchers, anthropologists, and ethnomusicologists than by percussionist-performers, so the relationship between theory and reality regarding the teaching of world percussion by collegiate percussion instructors is called into question. Via an exploratory mixed-methods design, this dissertation investigated the practical approaches most commonly utilized by percussion instructors to teach world percussion in their collegiate percussion programs, as well as the practical and philosophical reasons behind their decisions. Questionnaires were distributed to 1,032 collegiate percussion instructors in the United States with 518 respondents (N=518); descriptive statistics were utilized to determine the relative popularity of the four main approaches mentioned in the percussion literature. Interviews were conducted with collegiate world percussion instructors (N = 11), selected via stratified random sampling, regarding their practical and philosophical approaches to teaching world percussion. Content coding of interview data was utilized to search for emergent themes and meta-themes. Findings regarding the instructors' practical approaches toward the incorporation of world percussion in their programs included decisions about what world percussion instruments and styles to present, settings in which to present them, when to present world percussion and how much world percussion to include in relation to core areas, and breadth versus depth of world percussion. Findings regarding instructors' philosophical orientations included rationales for world percussion and issues of authenticity. Conclusions include that instructors' main rationales for incorporating world percussion into their programs were musical well-roundedness and employability as performers and educators, while understanding authentic musical processes in cultural context was also an important dimension. Implications were also discussed, and suggestions for further research were also included.

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Aimi, Roberto Mario 1973. "New expressive percussion instruments." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/30973.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (leaves 82-86).
This thesis presents several new percussion instruments that explore the ideas of musical networks; playing, recording, and developing musical material; continuous control over rhythm and timbre; pressure sensing; and electronic / acoustic hybrids. These instruments use the tools of electronics and computation to extend the role of percussion by creating new ways for people to play percussion alone, together, and in remote locations. Two projects are presented in detail. The Beatbugs are a system of eight hand-held networked instruments that are designed to let children enter simple rhythmic motifs and send those motifs to be developed further by the other players. Results from three workshops and performances are discussed. Preliminary results are also presented for the Remote Drum Network, a system that lets people play drums together over the internet even in high latency situations by synchronizing their audio streams and delaying them to match each player's next phrase.
by Roberto Mario Aimi.
S.M.

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6

Lierdeman, Philippe. "Pliages : for percussion sextet /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9728769.

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7

Hepfer, Jonathan David. "Thoughts on contemporary percussion." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1467909.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from 1st page of PDF file (viewed Sept. 16, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains sound files of the thesis recital in 44K stereo. and 96K formats. Includes bibliographical references: P. 15.

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Thierauf, Andrew. "Percussion and Max: a collection of short works for solo percussion and live electronics." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1774.

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The combination of solo percussion with live electronics is one of the newest genres of music today. An outgrowth of the instrument and fixed media genre, live electronic music combines a musician on stage performing with a computer or other technology performing real-time processes. This document is a collection of five works scored for percussion and the computer program Max intended for the collegiate level. In addition, there are explanations and schematics of the patches to help the performer learn how to use Max. This document could serve as supplemental material for an undergraduate percussion curriculum to help students gain experience performing with live electronics. Most students in university music departments are not exposed to technology unless they seek it out themselves. This may cause many student instrumentalists to be hesitant to play works with technology. However, as performing with electronics becomes more common, music students without this experience are at a disadvantage. Basic knowledge of audio equipment, having experience using a microphone, sound recording, and other technical know-how is essential to becoming a successful performer in a contemporary setting. Being able to perform with electronics creates new opportunities for repertoire, collaboration, and performance. Many universities are starting new programs dedicated to interdisciplinary studies such as digital humanities. These collaborative efforts bring together musicians, dancers, writers, visual artists, computer scientists, and others to create new work. Music students who have some background in performing and working with electronics could be a part of these collaborative efforts and help produce compelling, original work.

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Stewart, Jesse. "Recent works for solo percussion." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ56206.pdf.

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Brink, Margaret. "The piano as percussion instrument /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11272.

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Crowley, Timothy R. (Timothy Robert). "Nonet for Percussion and Tape." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc1038810/.

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Nonet for Percussion and Tape is a twenty-two minute through-composed work for eight percussionists and tape. The instrumentation includes: marimba, xylophone, glass wind chimes, slit drum, woodblock, vibraphone, crotales, metal wind chimes, snare drum, bass drum, tom-toms, temple blocks, bass marimba, log drum, cowbells, medium suspended cymbal, gongs, timbales, bongos, tambourine, roto-toms, timpani, and pre-recorded computer-generated/computer-sampled sound.

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Sylvester, Charlotte. "Processional for Organ and Percussion." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277154469.

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Hewitt, Jeffrey Allen. "The Objective Grading of Original Unaccompanied Four-Mallet Solo Vibraphone Literature." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/338874.

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An important resource in many areas of music is the availability of standardized graded databases of literature for solo instruments. These databases provide a progression of technical abilities that help musicians follow a proper path in developing new skills. Currently in the area of percussion, there are no graded databases for solo vibraphone literature. While there are several sources that contain subjective graded music lists, none of these sources have a standardized approach in defining each of their difficulty levels, and this creates contradicting information for particular pieces. The goal of this research is to present the first standardized and systematic approach to grading the difficulty levels of vibraphone literature. Influenced by pianist Jane Magrath's reference guide of piano teaching literature and percussionist Julia Gaines' research project on marimba repertoire, this research is modeled on Gaines' objective analysis document used to grade marimba literature with ten different levels of difficulty. With the exception of dampening and pedaling, all of the technical aspects required for playing the vibraphone remain the same as the marimba. Because musical considerations are subjective in nature, only the quantifiable technical considerations are used for grading each work in an objective manner. The technical difficulty of original unaccompanied four-mallet solo vibraphone literature is assessed through the analysis of stroke speed, interval size, wrist turns, manual changes, independence, dampening, and pedaling. Each piece's grade will be classified based on the highest level of technical difficulty found in the music. The selection of vibraphone literature for this research comes from pieces found on prescribed state music lists and university handbook recommendation lists. Annotations are included to describe the pieces that are particularly mislabeled, and a discussion regarding the performance challenges that each piece presents are offered. Three annotations from each of the ten difficulty levels contain a justification based on the results recorded in the analysis document. With an extensive graded database containing over one hundred seventy vibraphone pieces listed in the appendix, this resource will assist percussion students and educators in selecting appropriate vibraphone literature to study and perform within a proper progression from one work to another.

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Cameron, James Scott. "Trends and developments in percussion ensemble literature, 1976-1992 : an examination of selected works premiered at the Percussive Arts Society International Conventions /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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15

Ng, Gary K. L. "Quality control in laser percussion drilling." Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488033.

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Belcher, Justin Ryan. "Embodied Interfaces for Interactive Percussion Instruction." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/33361.

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For decades, the application of technology to percussion curricula has been substantially hindered by the limitations of conventional input devices. With the need for specialized percussion instruction at an all-time high, investigation of this domain can open the doors to an entirely new educational approach for percussion.

This research frames the foundation of an embodied approach to percussion instruction manifested in a system called Percussive. Through the use of body-scale interactions, percussion students can connect with pedagogical tools at the most fundamental levelâ leveraging muscle memory, kinesthetics, and embodiment to present engaging and dynamic instructional sessions.

The major contribution of this work is the exploration of how a system which uses motion-sensing to replicate the experiential qualities of drumming can be applied to existing pedagogues. Techniques for building a system which recognizes drumming input are discussed, as well as the systemâ s application to a successful contemporary instructional model. In addition to the specific results that are presented, it is felt that the collective wisdom provided by the discussion of the methodology throughout this thesis provides valuable insight for others in the same area of research.

Master of Science

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Potter, David. "Concertino for Tuba, Winds, and Percussion." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500331/.

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Concertino for Tuba, Winds, and Percussion is a work for solo tuba and an ensemble consisting of two flutes, two oboes, two clarinets, bass clarinet, bassoon, four horns, two trumpets, two trombones, bass trombone, and three percussionists. The percussionists play small, medium, and large suspended cymbals, triangle, tam tam, metal wind chimes, five tom toms, snare drum, tenor drum, bass drum, two sets of two timbales, five temple blocks, maracas, glockenspiel, vibraphone, chimes, xylophone, marimba, and five timpani. The three movements of the work follow the arrangement of the standard concerto format (fast-slow-fast). The lengths of the movements are approximately four minutes and fifteen seconds, two minutes and twenty-five seconds, and four minutes and ten seconds respectively. The total duration of Concertino is about eleven minutes.

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McDonald, Richard F. (Richard Frederic). "Canonic Variations for Percussion and Orchestra." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc935717/.

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This work in three movements is written for piccolo, flute, alto flute in G, oboe, English horn in F, clarinet in Bb, bass clarinet in Bb, contrabass clarinet in Bb, bassoon, soprano saxophone in Bb, alto saxophine in Bb, horn in F, trumpet in Bb, six percussion, violins, violas, and violoncellos. The approximate duration is thirteen minutes. The rhythm of the piece is notated metrically and spatially. Movements I and III employ both types of notation, while movement II is strictly metric. Most of the percussion instruments used in the first movement are capable of sustaining very lengthy notes. Upon the release of these notes they have equally long, if not longer, decay times. As the aural residue of the envelopes dissipates, the strings and winds are used to extend the decay times. At the same time, the varying timbres provide subtle shifts in color, so that the overall effect is one of a very large instrument able to undergo a kin of internal, timbral metamorphosis. In diametrical contrast, the envelopes of movements II and III are compressed to the point of short, individual attacks.

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Jenkins, Matthew B. "Contemporary percussion performance an overview of aesthetics and performance practices /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453661.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM and contains sound files of the recording of the recital. Title from first page of PDF file (viewed Jun. 25, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 7.

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McCloud, Daniel W. "Notable percussion excerpts derived from the wind-band repertoire : a continuation of a study by Charles Timothy Sivils." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1395456.

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In 1995 Charles Timothy Sivils completed his study, "Notable Percussion Excerpts of the Twentieth Century Wind-Band Literature." Sivils' intention was to create a formal list of percussion excerpts from substantial, originally composed wind-band literature that could supplement the study of orchestral excerpts. However, because of the continuingly increasing amount of literature being written and published for wind-bands, Sivils' original list no longer reflects recent or current trends in percussion writing for the wind-band. The objective of this study is to expand upon Sivils' excerpt list.The parameters outlined in Sivils' document have been adopted for this study with only minor adjustments. This paper will examine only the following wind-band compositions: (1) Compositions written between 1980 and 2005; (2) Compositions generally considered part of the standard wind-band repertoire; (3) Compositions originally conceived for the wind-band; (4) Compositions which do not feature a soloist in a concerto format; (5) compositions that are considered "concert marches" or movements entitled "March" from a multi-movement work.To provide the author with a body of information from which to start the research, a survey was sent to approximately forty wind-band conductors and percussionists throughout the United States asking them to list pieces, following the parameters previously outlined, from the wind-band repertoire that they feel contain the most significant percussion excerpts. Thirty-eight percent of those surveyed responded. Twenty-four of the suggested works were included in this study, creating a combined list of seventy-six excerpts from this and Sivils' document.Through the use of music notation software, a portion of each part has been reproduced as it appears in the original score. No attempt has been made to correct misprints or improve upon the composer's original notation. The excerpts have been formatted to create a single practicable part that contains all of the concerns discussed in the preceding pages. As with Sivils' study, a major component of this project has been to make the performer aware of these excerpts and to give insights into their performance.
School of Music

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Anderson, Stephen Reg. "Aesthetic models and structural features in Concerto for solo percussion and concert band." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/anderson%5Fstephen%5Freg/index.htm.

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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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Robertson, Thomas Alexander. "Examination of the evolution of multi-percussion." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2366.

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The twentieth century belonged to percussion. In previous centuries, percussion performed a supporting function with its primary role being to accentuate chordal changes and reinforce the beat. By the late nineteenth and early twentieth centuries orchestras expanded in size and instrumentation with percussion taking on a more prominent role, particularly in the works of composers such as Debussy, Stravinsky, and Mahler. It was at this moment in time that percussion assumed a new and unique role to express changes in colour and timbre, alongside its rhythmic function. The percussion repertoire of the twentieth century reflected the Zeitgeist, and composers exploited the creative potential of this sonic and textural pallete. This led to the development of various settings of multi-percussion; orchestral, chamber, percussion ensembles, and solo multi-percussion works. This thesis will examine this development throughout the twentieth century focusing on, and clearly defining, the impetus of each setting of multi-percussion composition. It questions the assumption that L’histoire du soldat was the flashpoint in the development of multi-percussion and finds that there were a myriad of factors that contributed to the rapid expansion of the art form.

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Becker, Daniel. "The Clarinet-Percussion Duo in the 21st Century: A Survey and Discussion of Works from 2000 to July 2015." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613374.

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Clarinet-percussion duos, music for one clarinetist and one percussionist, are a relatively new addition to the world of chamber music - the first work for this instrumentation was written in 1958. Throughout the second half of the 20th century, however, the genre became increasingly more popular, boasting at least 260 works before the year 1990, and dozens more between 1990 and 2000. After 2000, the genre managed to become an even larger branch of chamber music by adding at least 137 new works. Additionally, many performers dedicated solely to the grouping began to arise even before the end of 2015.This study explores the many facets of the clarinet-percussion duo that are making it a successful genre in the 21st century. It initially briefly examines the history of the clarinet-percussion duo prior to the year 2000 to provide the reader with essential background on the genre. Second, it includes a detailed survey of all clarinet-percussion duos the author was able to locate written since the year 2000, examining how the genre has grown over time in terms of compositional style and techniques, instrumentation, and national origin of the composers of the duos. Third is an overview of the growing number of clarinet-percussion performing duos and their effect on the genre in terms of commissioning works for the grouping and generating greater public exposure to the genre. The final section of the study is a set of discussions of five specific works from the genre, each detailing how the work is unique among others yet remains a key component of the clarinet-percussion oeuvre.

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Peterman, Timothy J. (Timothy James). "An Examination of Two Sextets of Carlos Chávez, Toccata for Percussion Instruments and Tambuco for Six Percussion Players." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331616/.

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This lecture-recital deals with the two percussion sextets of Carlos Chavez. Each of the compositions is analyzed by examining compositional characteristics and performance problems. The selection, substitution, and construction of the necessary instruments for performance are explored. Suggestions for stage set-up are also included. The percussion ensemble has become an integral part of most high school and university percussion programs. Much of the literature composed for this medium has not become part of the standard literature. Chlvez's Toccata has obtained its place in the literature—it is one of the most often performed percussion works in the world. Although Tambuco has not yet attained the same status as Toccata, it is, nevertheless, an important contribution to the literature. An attempt is also made to identify the significance of these works by examining some of the early influences on Chavez's compositional style both from his native Mexico, and from other composers writing for percussion ensembles.

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Dunstan, Kaylie Jane. "Percussion and Theatrical Techniques: An Investigation into Percussion Theatre Repertoire and its Presence in Australian Classical Music Culture." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14645.

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Percussion theatre is a relatively new term that can be effectively used to discuss a body of musical repertoire for percussion that employ theatrical techniques. A generic approach of percussion theatre may include the specialised use of lighting, props, costume, space, and in some cases multimedia. At the focal point of this thesis are the techniques of acting, vocalisation and gesture. It discusses how the skill set of the percussionist can be expanded to better suit the broader performance demands required by compositions. Percussionists who perform percussion theatre repertoire would greatly benefit from interdisciplinary study to develop the theatrical skills specific to this genre. Stylistic trends in European, American and Australian compositions of this genre are explored in detail. Furthermore, this thesis includes a discussion of a series of written interviews with key exponents of this body of musical work in Australia. Central to this discussion are both, the technical demands of the performer, and the factors that need to be considered when composers engage with the above theatrical techniques. Finally, significant factors leading to the success of the compositions on the performing circuit are also considered with a view to discover how to promote and further develop this nascent form of performance art.

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Blodgett, Jedediah Alan. "Percussion Education in Secondary Public Schools: A Pilot Study Comparing the Concert Band vs. the Percussion Ensemble Approach." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5473.

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The purpose of this pilot study was to examine the benefit of offering a percussion ensemble class in secondary public schools. I looked at two elements of music education: playing time and relevant instruction. The research questions focused on the difference in playing time and relevant instruction between percussionists in the concert band and percussionists in the percussion ensemble, as well as differences between the concert band subgroups (brass, woodwind, percussion). 6 separate instrumental groups were observed: 4 concert bands and 2 percussion ensembles (N=6). Students were randomly selected from each instrument subgroup (brass, woodwind, percussion, percussion ensemble) for observation. A mixed model ANOVA was used to compare the playing time per hour of each instrument subgroup. A second mixed model ANOVA was used to compare the relevant instruction received per hour of each instrument subgroup. As anticipated, the concert band percussionists experienced significantly less playing time and relevant instruction than both the brass and woodwind subgroups. The percussion ensemble subgroup did not experience a significant difference in either playing time or relevant instruction from the concert band percussionstudents. However, informal observations of the rehearsals indicated a difference in the scope and depth of the playing time and instruction experienced by these two subgroups. Implications from these observations are also discussed.

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Arilho, Rodolfo Vilaggio 1979. "Estudo interpretativo da obra "Ensaio-90" para trio de percussão de Mário Ficarelli." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285251.

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Orientador: Fernando Augusto de Almeida Hashimoto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T01:47:50Z (GMT). No. of bitstreams: 1 Arilho_RodolfoVilaggio_M.pdf: 22738314 bytes, checksum: 93559c1969c8f7eece56e6a0d6eb22d8 (MD5) Previous issue date: 2014
Resumo: Este trabalho tem como objetivo a realização de um estudo interpretativo sobre a obra Ensaio-90 de Mário Ficarelli, composta para trio de percussão em 1990. Esse estudo não se prende somente na análise dos elementos composicionais da obra, mas sim utiliza a análise como ferramenta para discutir as possíveis decisões interpretativas, as escolhas do componente aleatório do material timbrístico como fator determinante do resultado final da obra, bem como a interação entre percussionistas quando em atuação em um grupo de percussão e sugestões para solução de possíveis problemas técnicos contidos na obra
Abstract: This work has a main goal to perform an interpretative study on the work Ensaio-90 by Mário Ficarelli, composed for three percussionists in 1990. This study is based not only in the analysis of the musical elements of the work, but rather utilizes the musical analysis as a tool to discuss the possible interpretative decisions, the, the choices on the random component of the timbre as an important factor for the final output of the work, as well the interaction among the acting percussionists playing as a group, and the suggestions to solve the technical issues through the work
Mestrado
Praticas Interpretativas
Mestre em Música

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Irvine, John. "'Strange Language' for clarinet, piano & percussion." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/28281.

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Whitman, David Robert. "An examination of selected works for percussion." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/782.

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Lindblom, Daniel Lee. "A guide for incorporating corps-style percussion." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9933.

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Woodmansee, Brett Eric. "Alternative Analyses of Three Multiple Percussion Works." Diss., North Dakota State University, 2013. https://hdl.handle.net/10365/26854.

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The goal of this research document is to provide a flexible analysis that is directly applicable to multiple percussion performance and will inform a performer about the nature of decisions in specific circumstances without discouraging new explorations or interpretations. These analyses attempt to organize music components into four groups: dynamics, timbre, note density, and articulations and ornaments. Each of these groups can change in levels of importance within a hierarchy for each phrase, which provides information for performance practice. This information can theoretically reveal the most important components of a phrase, including the most significant mistakes of composers and performers. Emphasizing certain groups during a performance can mean the difference between a phrase enhancement and a confusing effect. These analyses ignore complicated mathematics, complex compositional features, metaphysics, historic performance practice, and the intentions of composers in favor of basic repetition patterns, unexpected changes, and deductive reasoning. The multiple percussion works selected for analysis are Cold Pressed (1990, revised 1994) by Dave Hollinden, Rebonds (1987-1989) by Iannis Xenakis, and Bone Alphabet (1991-1992) by Brian Ferneyhough. Results indicate that Cold Pressed utilizes a variety of complementary hierarchy types with a minor number of discrepancies; however, this often deviates with the phrasing indicated in the score. Rebonds utilizes a more consistent set of hierarchies without significant support from dynamics. Bone Alphabet utilizes complex detail with clear phrases that match the analysis in a variety of hierarchies; however, the rhythmic tension lacks the drive found in the other works. Performance suggestions are presented for each work.

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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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Nazor, Craig. "Concerto for solo violin, strings, and percussion /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Bernier, Lucas James. "The percussion ensemble music of Robert Moran." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3430.

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Stegall, Jermaine Edward. "Till Millennial Kingdom a composition for trumpet, three percussionists, and tape /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/stegall%5Fjermaine/index.htm.

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Butler, Christopher L. "UNDERSTANDING THE PERCUSSION WORKS OF ALEJANDRO VIÑAO: AN ANALYSIS AND PERFORMER’S GUIDE OF WATER FOR PERCUSSION ENSEMBLE." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/58.

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The music of Alejandro Viñao is driven primarily by rhythm rather than traditional classical music components such as melody, harmony, and formal structures. As such, this focus on rhythm showcases the innovation of multiple time, defined as the musical simulation of various meters and tempi. Pioneered by Conlon Nancarrow, this rhythmic innovation is identified within Water (2013). The purpose of this dissertation is to provide insight and analysis of the specific musical characteristics of Viñao’s compositional style. These characteristics include the use of rhythmic grooves, attractors, echo effect, tenuto markings, Euclidean rhythms, and water imagery. Once this analysis has been completed, this dissertation then highlights the necessary practicalities of performance by discussing aspects such as conducting, rehearsal preparation, setup configuration, mallet considerations, and the technical aspects of performing bongos and congas.

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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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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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Ahone, Lauri. "Djentophonic Project : A Meeting Point of Classical and Metal Music Through Percussion Ensemble." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1941.

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The writer of this master thesis was acquiring an education in classical percussion and deeply respecting the music genre named djent. He was so impressed by metal music that he taught himself how to use the notation programme Sibelius 7 and arranged a number of his favourite songs for the percussion ensemble so he would be able to play them. The following text supports and describes the process. A short analysis of 16 arrangements is included as well.

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Pereira, Lucio Silva. "Particularidades da percussão múltipla na música solo e de câmara mista de Iannis Xenakis." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/4136.

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This research is organized in two parts: A – Artistic production and B – Paper. The first part presents the programs and the program notes of the concerts held on August 23, 2013 and April 25, 2014. The second part presents the paper, which aims to study the use of multiple percussion in Iannis Xenakis solo and mixed chamber music, identifying and discussing performance characteristics of this set of works as well as idiosyncratic elements of percussion written by this composer. The paper begins with the concept of multiple percussion, historically situates the percussion in Western classical music during the twentieth and twenty-first centuries, and underscores the importance of Iannis Xenakis as a composer for this new lineage of percussion. The paper also proposes an approach to the works in which there is one percussionist playing multiple percussion set-ups, in solo or mixed chamber music context. Thus, the selected works are: Psappha (1975), Dmaathen (1976), Komboï (1981), Kassandra (1987), Oophaa (1989), Rebonds (1987/89) and Plektó (1993). After delimiting the repertoire to be studied, this paper identifies and discusses four characteristics of the works: (1) instrumentation, (2) the use of polyrhythms, (3) issues relating to the impossibilities in Xenakis’ music and (4) the use of polyphonic textures. The discussion section suggests traits that characterize the composer’s writing, identifying elements of recurrent use in various works, developing benchmarks, proposing technical solutions and developing interpretive conceptions that seek to contribute in the preparation of the performance of this set of works.
Esta pesquisa está organizada em duas partes: A – Produção artística e B – Artigo. A primeira parte apresenta os programas e as notas de programa dos concertos de qualificação e defesa, realizados, respectivamente, nos dias 23 de agosto de 2013 e 25 de abril de 2014. A segunda parte consiste no artigo, que tem como principal objetivo estudar a utilização da percussão múltipla em obras solo e de câmara mista de Iannis Xenakis, identificando e discutindo particularidades da performance desse conjunto de obras, bem como elementos idiossincráticos na escrita percussiva do compositor. O artigo parte da conceituação de percussão múltipla, situando historicamente a percussão na música clássica ocidental durante os séculos XX e XXI, e ressalta a importância de Iannis Xenakis como compositor para essa nova linhagem do fazer percussivo. O trabalho também propõe dar um enfoque nas obras em que há um percussionista tocando percussão múltipla, seja solo ou em um contexto camerístico misto. Assim, as obras selecionadas e discutidas ao longo deste artigo são: Psappha (1975), Dmaathen (1976), Komboï (1981), Kassandra (1987), Oophaa (1989), Rebonds (1987/89) e Plektó (1993). Delimitado o repertório a ser estudado, este artigo identifica e discute quatro particularidades das obras: (1) instrumentação, (2) uso de polirritmias, (3) questões referentes a impossibilidades na música de Xenakis, e (4) uso de texturas polifônicas. A discussão aponta traços que caracterizam a escrita do compositor, identificando elementos de uso recorrente nas diversas obras, elaborando pontos referenciais, propondo soluções técnicas e desenvolvendo conceitos interpretativos que buscam contribuir para a preparação da performance do conjunto de obras.

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Lopes, Louis Philippe Simões Castelo Branco 1985. "Percussion graphs: an automated approach for percussion composition." Master's thesis, 2011. http://hdl.handle.net/10451/8769.

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Tese de mestrado em Engenharia Informática, apresentada à Universidade de Lisboa, através da Faculdade de Ciências, 2011
A composição musical é um processo artístico interessante, que envolve não só criatividade mas também experimentação. Neste trabalho propomos um sistema que integra vários conceitos de sistemas de música generativa, com um particular foco na integração do utilizador. Ao contrário de outros sistemas de música generativa, principalmente os sistemas de música genética, ao qual o único papel que o utilizador tem sobre as músicas é de avaliador (avaliar a musicalidade de cada ritmo gerado), o nosso sistema irá permitir ao utilizador fazer parte do processo criativo e criar os seus próprios ritmos, que serão preponderantes depois no processo generativo musical. Os principais objectivos deste trabalho foram: _ Sistema em que o utilizador seria mais do que um avaliador ou juiz rítmico e fazer parte do processo criativo musical; _ Fornecer ao utilizador múltiplas formas de gerar a música; _ A música gerada não deverá ser uma cacofonia de sons, mas apresentar alguma estrutura musical. Introduzimos o conceito de ”Grafos de Percussão”, que ´e uma sistema de composição híbrido, misturando elementos interactivos (dependem do utilizador) com elementos mais automáticos ou generativos. Um grafo percursivo não é mais do que um grafo dirigido ao qual se associam, tanto aos nós como às conexões, ritmos percursivos. Cada nó está associado a um ritmo criado por um utilizador, enquanto cada conexão, representa uma sequência de ritmos. A ideia do grafo de percussão era criar um processo de composição intuitivo no qual o utilizador pudesse criar vários ritmos e interligá-los. A cada nó o utilizador irá associar um ritmo percursivo, enquanto os ritmos musicais associados às conexões irão ser fruto de um processo generativo. Os ritmos dos nós são criados pelo utilizador através de uma caixa de ritmos, que consiste numa grelha de 16 linhas por 16 colunas. As linhas representam os vários instrumentos de percussão disponíveis enquanto as colunas representam todos os tempos disponíveis, neste caso um tempo é uma semicolcheia. Quando um ritmo é criado o utilizador terá que apenas transferir o ritmo para a aplicação ao qual este depois transformará num nó do grafo. A cada conexão vai corresponder uma sequência de ritmos percursivos que representa a progressão musical entre o ritmo do seu nó inicial até ao ritmo do seu nó final. Este ritmo progressivo corresponde ao rasto do processo de optimização, que é formado pela sequência de ritmos obtidas em cada iteração do processo de optimização. Implementamos três técnicas de optimização para gerar os ritmos das conexões, que foram: Algoritmo Genético, Trepa Colinas e o Trepa Colinas Estocástico. Estes foram escolhidos pela capacidade de criar diversidade tanto a tamanho e natureza das sequências dos ritmos gerados. Todos os optimizadores utilizaram a mesma função objectivo que é uma medida de semelhança de qualquer ritmo objectivo (ritmo final). Nomeadamente os instrumentos que s˜ao comuns aos dois ritmos, os tempos comuns (o tempo a que uma nota ´e tocada) e notas que são exactamente iguais tanto em instrumento como tempo. A função objectivo consoante estas características irá dar uma classificação entre 1 a 10, 10 sendo exactamente semelhante com o ritmo final. Logo como ´e de se esperar, os algoritmos generativos têm como função progredir os ritmos através desta avaliação rítmica. No entanto, o objectivo não é chegar ao ritmo final o mais eficientemente possível, mas de forma a que este seja capaz de criar ritmos intermédios que subjectivamente são ”valiosos” para o utilizador. Pode existir várias situações em que uma sequência rítmica poderá ser demasiado longa ou repetitiva. Para combater esta situação introduzimos o conceito de filtros que permitem ao utilizador editar as várias conexões geradas, como por exemplo cortar uma parte rítmica da conexão (O Filtro Corte entre dois Pontos), eliminar todos os ritmos que têm um valor de avaliação menor do que X (O Filtro por Classificação), eliminar repetições (O Filtro por Repetição). O processo de composição musical não se resume à geração do grafo percursivo. O grafo contém todos elementos da composição musical, mas a própria musica será o resultado de uma travessia do grafo. Conceptualizámos dois tipos de travessia, definindo dois nós como sendo dois extremos de um caminho (inicio e fim) ou então fazer uma travessia que passa por todos os ritmos uma única vez, problema análoga ao celebre caixeiro viajante. Se o utilizador decidir definir dois extremos de um caminho, um processo que chamámos de ”Path Finding”, a aplicação retornará uma música (lista de ritmos) com todas as conexões intermédias que satisfazem um caminho entre esses dois extremos (caso seja possível). O utilizador terá à sua disposição 3 tipos de algoritmos de ”Path Finding”: Procura em Largura (Breath-first Search), Procura em Profundidade (Depth-first Search) e a Procura Aleatória (Random Search). Dependendo do grafo estas 3 opções podem retornar resultados completamente diferentes, o que ajuda sempre na variedade musical. Neste tipo de travessias os nós podem ser repetidos. Caso o utilizador escolher a opção do caixeiro viajante, o processo irá primeiro de tudo gerar conexões novas para criar um grafo totalmente conexo. Isto é necessário para que o algoritmo seja possível, e para não obrigar o utilizador a ter que interligar todos os nós manualmente. Quando o processo de criação do grafo terminar, calculamos um circuito usando um método de pesquisa local, o 2-Opt, utilizado com grande sucesso no problema clássico do caixeiro viajante. Para que o utilizador seja capaz de utilizar todas estas características foi necessário criar um interface, onde o utilizador pudesse ter fácil acesso a todas a opções e características do programa. Esta interface permite: _ Criar os nós, manipulá-los, interligá-los com conexões; _ Ouvir conexões e nós; _ Escolher o algoritmo generativo de optimização para preencher as conexões; _ Gerar a lista de ritmos para as conexões existentes; _ Aplicar filtros nas conexões; _ Escolher o tipo de travessia; _ Definir os extremos para a travessia ponto a ponto e gerar o resultado; _ Obter a lista de ritmos do algoritmo caixeiro viajante e ouvir o resultado; _ Ouvir as Travessias. Todos estes conceitos serão explicados e detalhados neste trabalho, incluindo detalhes de implementação, a investigação e experimentação do conceito de grafo de percussão e um manual de utilização do sistema. Este trabalho também incluí uma secção de discussão e uma apreciação musical dos resultados obtidos, como a musicalidade, tempo de geração e análise dos resultados do path finding. O sistema também foi testado com um grupo de utilizadores (músicos e não músicos) ao qual este trabalho também descreverá as experiências dos utilizadores e a sua apreciação musical.
Musical composition is an interesting artistic process, which can involve a lot of experimentation with various known musical concepts. In this work we propose a system that tries to integrate various aspects of music generation and automation systems, but with a focus on integrating the user into the music creation process. Unlike systems who cast users into a musical arbiter role, our system generates music in accordance to user created music. We named this system Percussion Graphs, and consists of a musical graph representation of user created rhythms and generated rhythms. A graph contains two main components: The Node component (which are User Created Rhythms) and a Connection component (which is a List of Generated Rhythms). The idea is to have users create rhythms, that can then be connected with each other. These connections are the rhythm generation process, and they consist of a slow progressive transformation process of one rhythm into another, in this case two user created rhythms. A user will be able to control multiple aspects of the percussion graph such as node manipulation and creation, node connection, choosing the rhythm generating methodology from multiple available methodologies, traveling the percussion graph and hearing the generated solutions. We also implemented editing options, called filters, that will let the user trim and edit connections to his or her liking. In this work we will explain on how the percussion graph and all of its features were implemented and how they work (internally and usability wise). We also talk about on what led us to follow this specific modus operandi. We also discuss the experiences of several users during their test run with the percussion graph system, and their thoughts on the generated rhythms and the system itself.

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Lopes, Louis Philippe Simões Castelo Branco. "Percussion Graphs: An Automaded Approach for Percussion Composition." Master's thesis, 2011. http://hdl.handle.net/10451/13859.

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The evolutionary and generative art world isn’t a relatively new concept, and already has a great thriving community, who are passionate about art and its integration within an artificial computational mold. The solution to this problem isn’t a one-way street, with the community presenting various creative solutions to the problem including swarm types,genetic types, multi-agent types, neural networking types, cellular automata types and hybrids (a system that uses multiple types).

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Liu, Shih-Wei, and 劉詩薇. "A Research of Teaching Percussion Performing in Ju Percussion Music School." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/49n33r.

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Bedell, Adam. "Master's thesis recital (percussion)." 2010. http://hdl.handle.net/2152/11379.

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Breakfast breakdown / Red Norvo -- Torse III / Akira Miyoshi -- Nagoya marimbas / Steve Reich -- Okho / Iannis Xenakis -- Out of the blue / Michael Burritt -- Child of tree / John Cage -- Bye bye medley / arr. Bob Becker
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Lu, Lily. "Doctoral thesis recital (percussion)." 2010. http://hdl.handle.net/2152/11530.

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Peterson, Eric. "Master's thesis recital (percussion)." 2010. http://hdl.handle.net/2152/11572.

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Tadokoro, Mai. "Master's thesis recital (percussion)." 2010. http://hdl.handle.net/2152/11604.

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Tannert, Emily. "Master's thesis recital (percussion)." 2010. http://hdl.handle.net/2152/11608.

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Three movements for marimba / Christopher S. Prosser -- Past feeling for solo percussion / Stephen A. Martin -- Three shells / Christopher Deane -- Three movements for timpani / Tony Edwards -- Vertical river / Blake Tyson
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Lizak, Christopher R. "Doctoral thesis recital (percussion)." 2010. http://hdl.handle.net/2152/15906.

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Cage (2005) / Fernando Iazzetta -- Kahn variations (2001) / Alejandro Vinao -- Fermo (2007) / Michael Burritt -- Sedimental structures (1998) / Gordon Stout -- Scorned as timber, beloved of the sky (2003) / Ellen Lindquist -- Rebons b / Iannis Xenakis.
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Dissertations / Theses on the topic 'Percussion'

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