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Relevant bibliographies by topics / Solo Percussion

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Dissertations / Theses

Academic literature on the topic 'Solo Percussion'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 January 2023

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Dissertations / Theses on the topic "Solo Percussion"

1

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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2

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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3

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. T

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4

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 per

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5

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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6

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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7

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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8

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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9

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.<br>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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10

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 e

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