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Relevant bibliographies by topics / Solo Percussion

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Academic literature on the topic 'Solo Percussion'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 January 2023

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Journal articles on the topic "Solo Percussion"

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Raush, John R., Eric Tanguy, and Gerard Siracusa. "Towards pour percussion solo." Notes 51, no. 1 (September 1994): 426. http://dx.doi.org/10.2307/899280.

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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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Harper, Adam. "Metal Wood Skin: The Colin Currie Percussion Festival, Southbank Centre, London." Tempo 69, no. 272 (April 2015): 69–72. http://dx.doi.org/10.1017/s0040298214001119.

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‘THE PERCUSSION UNIVERSE OF AXEL BORUP-JØRGENSEN’: Solo; Music for percussion + viola; La Primavera; Periphrasis; Winter Music. Gert Mortensen (perc.), Percurama Percussion Ensemble, Tim Frederiksen (vla), Duo Crossfire, Michala Petri (rec.), DNSO Brass Quintet. OUR Recordings

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Stavrat, Constantin. "10. Comparative Interpretative Analysis of David Mancini’s Work Suite for Solo Drumset and Percussion Ensemble." Review of Artistic Education 19, no. 1 (April 1, 2020): 81–84. http://dx.doi.org/10.2478/rae-2020-0010.

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AbstractThe endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the respective groups, professors Marian Vaida and Bedo Gabor, both perfected within the percussion class of the Conservatory of Music “George Enescu” in Iasi Romania, founded and led for more than half a century by the renowned professor Florian Simion. Two totally different interpretations of David Mancini’s work - Suite for solo drums and percussion ensemble, each with a few moments of success, but also with the need to perfect many elements of technique and interpretive design.

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Powley, Harrison, David Lang, David Maves, and Stuart Smith. "The Anvil Chorus for Percussion Solo (1991)." Notes 52, no. 2 (December 1995): 641. http://dx.doi.org/10.2307/899089.

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Fernandes-Weiss, Ledice. "Estudo do gesto instrumental sob o prisma da Labanotation: o exemplo da Tapping Technique em Percussion Study I para violão solo de Arthur Kampela." OPUS 24, no. 1 (April 28, 2018): 199. http://dx.doi.org/10.20504/opus2018a2410.

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Este estudo parte dos efeitos de percussão criados por Arthur Kampela em seu Percussion Study I visando compreender o movimento físico e o gesto instrumental do violonista como um fenômeno orgânico, intimamente relacionado com o gesto sonoro. Para tanto, utilizamos como ferramenta de análise a notação de movimentos coreográficos criada por Rudolf von Laban; este sistema é aplicado aos gestos requeridos para se realizarem cinco passagens da obra de Kampela onde os efeitos de percussão estão particularmente presentes. A partir da leitura dos cinetogramas criados, podemos observar uma predominância de movimentos em ricochete e outros efeitos percussivos que, além de promover um melhor relaxamento muscular, corroboram no impacto visual que a peça causa por sua gestualidade corporal. Observamos também que há uma notável exploração espacial do instrumento. Ao abordarmos o fazer musical de um ponto de vista coreográfico, entendemos este como um complexo que inclui o som produzido, os gestos e movimentos do performer, sua energia, seu corpo e o espaço que o circunda.

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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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Trawick, Eleanor F., and George Benjamin. "Octet for Flute, Clarinet, Celesta, Percussion and Solo Strings." Notes 50, no. 1 (September 1993): 382. http://dx.doi.org/10.2307/898775.

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Hughes, Georgina. "Music, Science and Expert Listening: Interdisciplinarity and Solo Percussion Performance." STEAM 4, no. 2 (2020): 1–9. http://dx.doi.org/10.5642/steam.20200402.06.

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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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Dissertations / Theses on the topic "Solo Percussion"

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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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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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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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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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GERBER, STUART W. "KARLHEINZ STOCKHAUSEN'S SOLO PERCUSSION MUSIC: A COMPREHENSIVE STUDY." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1060182585.

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Gerber, Stuart W. "Karlheinz Stockhausen's solo percussion music a comprehensive study /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1060182585.

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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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Marcus, Naomi Joy. "Four Works for Solo Timpani: An Analysis and Performance Guide." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1457612668.

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Palter, Morris S. "The solidification of performance practice issues in solo percussion performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3171113.

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Thesis (Ph. D.)--University of California, San Diego, 2005.
An examination of the development of performance practice developed in the relationships between performers and composers, with emphasis on three works: Psappha by Iannis Xenakis, Wave/s by Thomas DeLio, and Attitudes--assumptions shattered by Derek Keller. Vita. Includes tape cassette (digital ; 2 7//8 x 2 1/8 in., 3/16 in. tape) with recording of one of the works discussed.

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Andreatta, Drew David. "Three Lou Harrison Percussion Ensembles Arranged for A Solo Percussionist." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293612.

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This document details the creation of a new type of multiple percussion solo from pre-composed percussion ensembles. The author transcribes three works for percussion ensemble by Lou Harrison (1917-2003): Suite for Percussion, movement I, Bomba and Simfony #13 so that they can be performed as percussion solos. Each composition requires a different type of solo version because of the diverse instruments and musical materials in the original scores. Learning to perform these new versions will expand the technical capabilities of a soloist and offers complex challenges not found in the original ensembles. The document includes complete scores and set-ups for each new solo version and discussion of performance practice and techniques to play each work. Although Harrison’s original works were conceived for amateur players, the solo versions require the skills of a virtuoso performer. The new versions confirm the artistic merit of Harrison’s work in a format both practical and satisfying to the solo percussionist. The project illustrates new methods for further developing percussion technique to enable ensemble works to be performed by soloists. The solo versions of Lou Harrison percussion ensembles presented herein result in new repertoire for the percussion soloist.

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Books on the topic "Solo Percussion"

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Siwe, Thomas. Percussion solo literature. Champaign, Ill: Media Press, 1995.

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Siwe, Thomas. Percussion ensemble & solo literature. Champaign, Ill: Media Press, 1993.

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

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Lazarof, Henri. Suite for solo percussion and five instrumentalists. Bryn Mawr, Pa: Merion Music, 1991.

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She who sleeps with a small blanket: Percussion solo. London: Chester Music, 1996.

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Paulus, Stephen. Organ concerto for solo organ, timpani, percussion and strings. Valley Forge, Pa: European American Music, 1992.

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Ptaszyńska, Marta. Dream lands, magic spaces: For violin solo, piano, and percussion instruments. 2nd ed. [U.S.]: Piedmont Music Co., 1993.

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Albright, William. Symphony for organ: Organ solo with percussion (or pre-recorded tape). New York: Henmar Press, 1993.

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Bernstein, Leonard. Missa brevis: (1988) for a cappella mixed chorus (or octet of solo voices) and countertenor solo with incidental percussion. [New York]: Jalni Publications, 1990.

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Música contemporánea argentina para percusión solo: Incluye CD con obras de Gerardo Gandini, Alcides Lanza, Alicia Terzián y Julio Viera. Buenos Aires: Fondo Nacional de las Artes, 2010.

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Book chapters on the topic "Solo Percussion"

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Rocha, Fernando, and Eli Stine. "Estilhaço 1 and 2: Conversations Between Sound and Image in the Context of a Solo Percussion Concert." In Bridging People and Sound, 247–55. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67738-5_15.

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Siwe, Thomas. "The Solo Percussionist—Center Stage." In Artful Noise, 156–78. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0012.

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The virtuoso percussionist, though not unique to the twentieth century, began to appear on both professional and student recitals during the latter decades of the century. This chapter examines the solo literature written for the principal percussion instruments—timpani, xylophone, marimba, vibraphone—and multiple percussion, the latter term describing an array of dissimilar instruments that is novel to the twentieth century. The chapter portrays the evolution of composer Elliott Carter’s timpani solos and his use of metric modulation. Virtuoso artists, such as Vida Chenoweth, Keiko Abe, and others, composed and commissioned new works for keyboard percussion. Their collective efforts brought keyboard percussion to the forefront of the solo percussion literature. The eminent solo artist Evelyn Glennie commissioned over 200 solo works, many of them categorized as multiple percussion. The percussionist, once banished to the back of the orchestra, often appeared center stage by century’s end.

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Siwe, Thomas. "Serialism." In Artful Noise, 82–96. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0006.

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In the 1950s and 1960s, many composers, influenced by Arnold Schoenberg and Anton Webern, embraced serial compositional techniques. Tonal music became atonal and composers, such as Pierre Boulez from France and the German composer, Karlheinz Stockhausen, championed this new compositional approach. This chapter defines serialism and how composers applied it to works for percussion instruments. Music examples include Stockhausen’s solo work, Zyklus, with its totally original notational system, and a setting of an E. E. Cummings poem, Circles, by the Italian composer Luciano Berio. American composer Charles Wuorinen’s use of Milton Babbitt’s “time point” system in both his solo work Janissary Music and his forty-five-minute Percussion Symphony is presented, as is the work of Argentine composer Alberto Ginastera, who contributed to the literature one of the twentieth century’s largest percussion works, Cantata para América Mágica, for dramatic soprano and fifty-three percussion instruments. A discussion of percussion solo and ensemble works by the Greek composer, architect, and mathematician Iannis Xenakis completes the chapter.

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Siwe, Thomas. "Post World War II—America Rising." In Artful Noise, 64–81. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0005.

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Following World War II, thousands of returning servicemen and women enrolled in American colleges and universities with the financial assistance of the GI Bill. Colleges acted in response to the needs of these older students by offering career-oriented courses and by hiring new faculty to teach them. Music departments began hiring full-time percussion teachers and graduating classes of educated and skilled percussionists. Contemporary composers found these new graduates willing to play their works and responded by dramatically increasing the number of works written for percussion, both solo and ensemble. In the United States, Michael Colgrass, Alan Hovhaness, Henry Brant, and William Kraft created a variety of works ranging from chamber music to solos and even a symphony for percussion. As Europe and Asia recovered from the war, the arts there began a process of rebirth. In the late 1950s and 1960s, French composers André Jolivet, Marius Constant, and Maurice Ohana added a number of percussion works for the concert hall as well as for the dance. The years following World War II and the decades that immediately followed saw a resurgence of musical creativity and the schooled percussionist became sought after as both performer and teacher.

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Siwe, Thomas. "Sonorism." In Artful Noise, 136–45. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0010.

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In this chapter, the use by twentieth-century composers of tone color, or timbre is explained with examples by those who made its use central to their compositional output. Poland, freed from the bonds of communism and the Soviet state, relaxed controls over the arts and in 1956 initiated the Warsaw Autumn festival where avant-garde Polish and Western music could be heard. Kazimierz Serocki cofounded the festival, contributing to the percussion canon his timbre-based sextet, Continuum. In the United States, the American composer George Crumb definitely had an ear for timbre coupled with a love for percussion evident in the works discussed. A young Polish/American composer, Marta Ptaszynska, created a number of works for both solo and ensemble percussion in the latter half of the century. Her work Siderals was conceived as an audio-visual, or mixed-media work utilizing ten percussionists, magnetic tape playback, and lighting. The three composers highlighted in this chapter approached the use of timbre in differing ways.

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Stillie, Bryden. "Learning and Performing with Drum Kit Technologies (Advanced)." In The Music Technology Cookbook, 51–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0010.

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The activities in this chapter are designed for undergraduates in their third year of drum kit studies who have developed advanced skills on the acoustic drum kit. This activity introduces students to the features and musical affordances of drum kit technologies. Students learn how to use percussion controllers and electronic drum triggers, in conjunction with music software they have experience of, to perform pieces of music in solo performance settings on hybrid, and fully electronic, drum kits. The three-stage approach includes: 1) exploring the built-in features of the percussion controller and associated music software, 2) using the controller in a familiar context, for example, to extend the possibilities of an acoustic drum kit in a hybrid setup, and, 3) creating a performance using only the technology (i.e., removing the familiar acoustic drum kit).

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Siwe, Thomas. "Chance and Indeterminacy in Music." In Artful Noise, 97–106. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0007.

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The incorporation of degrees of chance in the creation and realization of music captured the imagination of composers in the late 1950s and early 1960s. Led by the American iconoclast John Cage—the most prominent champion of chance and indeterminacy—composers began to include chance operations in the creative process. In so doing, they relied upon the performer to understand each work’s compositional style and to respond to and interpret the notation used, often graphic in form. This chapter examines the percussion works of John Cage, Morton Feldman, Roman Haubenstock-Ramati, and Herbert Brün. Cage’s transition from his use of the square root formula to his relinquishing control over every aspect of the compositional process is explored through his works 27’ 10.554” and Child of Tree. Feldman’s use of “time boxes” in the percussion solo The King of Denmark and his desire to remove both pulse and attack from his music is illustrated. Brün’s early use of a computer to create music brings the chapter to a close.

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Siwe, Thomas. "Electronic Music." In Artful Noise, 107–17. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0008.

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

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Krakauer, Ben. "Distinctive Qualities of Southwestern Ohio Bluegrass." In Industrial Strength Bluegrass, 175–88. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043642.003.0011.

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Regional bluegrass mixed earlier rural influences with those of urban dislocation and factory life, yielding significant innovations that inspired later bluegrass worldwide. Scruggs-style banjo techniques were adapted by mandolinist Jesse McReynolds and guitarists Bill Napier and George Shuffler. Tavern acoustics required piercing tones, and percussive plucked-stringed instruments were prized over the fiddle. The Osborne Brothers and Red Allen, Jim and Jesse, and Jimmy Martin brought trio vocal harmony to the forefront. “Melodic” five-string banjo, later developed elsewhere, drew upon Noah Crase’s innovations. Sonny Osborne’s unconventional musical vocabulary inspired newgrass. Bobby Osborne, Frank Wakefield, and Dorsey Harvey influenced generations of mandolinists. King Records owner Syd Nathan encouraged bluegrass’s earliest guitar flatpicking solos. Lillimae Whitaker and Katie Laur were pioneer woman bandleaders.

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Lapidus, Benjamin. "Strings and Skins." In New York and the International Sound of Latin Music, 1940-1990, 54–81. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0002.

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This chapter outlines the important history and role of craftsmen based in New York City who produced and repaired traditional instruments used in the performance of Latin music. It introduces individuals who came from Cuban, Puerto Rican, Dominican, and Jewish communities, and examines how their instruments physically represented the actual sound of Latin Music to New York and the world on widely disseminated recordings. Many of these instrument makers also sold their instruments beyond New York City and the United States. The chapter also discusses the work of builders and musicians in New York City to create and modify the tools used to forge the sound of Latin music and diffuse both the instruments and their aesthetic throughout the world. Ultimately, the chapter seeks to unify into one coherent narrative, the efforts of folklorists, journalists, and authors who paid attention to the origins of hand percussion instruments in New York, their subsequent mass production, and the people who built the instruments used to play Latin music in New York City.

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Conference papers on the topic "Solo Percussion"

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Silva, Adriano, Claudia Iris da Silva Viriato, and Joel Carlos Moizinho. "CARACTERIZAÇÃO DO SUBSOLO DO CAMPUS PARICARANA DA UFRR BASEADO EM RELATORIOS DE ENSAIO À PERCUSSÃO SPT." In Congresso Brasileiro de Mecânica dos Solos e Engenharia Geotécnica. ABMS, 2020. http://dx.doi.org/10.4322/cobramseg.2022.0535.

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Marcos Fábio Porto de Aguiar, Márcio Bertrand Diniz Nazareth Filho, Leila Maria Coelho de Carvalho, Tiago Melo Monteiro, and Francisco Heber Lacerda de Oliveira. "Interpretação de Resultados de Sondagem à Percussão com Medição de Torque em Subsolo do Litoral do Nordeste Brasileiro." In XVIII Congresso Brasileiro de Mecânica dos Solos e Engenharia Geotécnica. São Paulo, SP, Brasil: Associação Brasileira de Mecânica dos Solos e Engenharia Geotécnica - ABMS, 2016. http://dx.doi.org/10.20906/cps/cb-01-0011.

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Bruno Carrilho de Castro, Raydel Lorenzo, Andressa Faquineli Garcia, Gustavo Haruo Beltran Gondo, Samuel de França Marques, Marcos Vinícius de Sousa, and Janaína Santana Queiroz. "Análise de perfis geotécnicos por meio de ensaios a percussão e geofísicos para a cidade de Palmas - To." In XVIII Congresso Brasileiro de Mecânica dos Solos e Engenharia Geotécnica. São Paulo, SP, Brasil: Associação Brasileira de Mecânica dos Solos e Engenharia Geotécnica - ABMS, 2016. http://dx.doi.org/10.20906/cps/cb-01-0020.

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Marcos Fábio Porto de Aguiar, Giullia Carolina de Melo Mendes, Bruna Vital Roque, Francisco Heber Lacerda de Oliveira, and Luis Helcio Figueiredo Scipião. "Estudo da Eficiência de Sondagens à Percussão tipo SPT com Medição de Torque e Embuchamento na Determinação da Capacidade de Carga de Fundações Tipo Raiz no Campo Experimental da UNIFOR." In XVIII Congresso Brasileiro de Mecânica dos Solos e Engenharia Geotécnica. São Paulo, SP, Brasil: Associação Brasileira de Mecânica dos Solos e Engenharia Geotécnica - ABMS, 2016. http://dx.doi.org/10.20906/cps/cb-04-0025.

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