To see the other types of publications on this topic, follow the link: Solo Percussion.
Dissertations / Theses on the topic 'Solo Percussion'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Solo Percussion.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
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.
Full text
2
Nazor, Craig. "Concerto for solo violin, strings, and percussion /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full text
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.
Full textAbstract:
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.
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.
Full textAbstract:
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.
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.
Full text
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.
Full text
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.
Full text
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.
Full text
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.
Full textAbstract:
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.
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.
Full textAbstract:
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.
11
Augspurger, Christine Anne. "Transience: An Album-Length Recording for Solo Percussion and Electronics." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/4802.
Full text
12
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.
Full textAbstract:
Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-02-09T18:53:18Z
No. of bitstreams: 7
Dissertação - Lúcio Silva Pereira - 2014.pdf: 1594411 bytes, checksum: 5cbd4ef5a98c0dfa848284654f9329fb (MD5)
01 Faixa 1.wma: 1648786 bytes, checksum: a5b2dee254892b3222580dc1394d067b (MD5)
02 Faixa 2.wma: 14664514 bytes, checksum: 4e9c32ef525370b2609b68d626986f4b (MD5)
03 Faixa 3.wma: 5252314 bytes, checksum: e0216acc499eba6d07ed0c4bfc454eaa (MD5)
04 Faixa 4.wma: 8037130 bytes, checksum: 28fc63e6d83b37db8ba0a5f3ab21d02a (MD5)
05 Faixa 5.wma: 8246290 bytes, checksum: e61b3d99b32574e7e07bc37cd5228662 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-02-09T18:53:36Z (GMT) No. of bitstreams: 7 Dissertação - Lúcio Silva Pereira - 2014.pdf: 1594411 bytes, checksum: 5cbd4ef5a98c0dfa848284654f9329fb (MD5) 01 Faixa 1.wma: 1648786 bytes, checksum: a5b2dee254892b3222580dc1394d067b (MD5) 02 Faixa 2.wma: 14664514 bytes, checksum: 4e9c32ef525370b2609b68d626986f4b (MD5) 03 Faixa 3.wma: 5252314 bytes, checksum: e0216acc499eba6d07ed0c4bfc454eaa (MD5) 04 Faixa 4.wma: 8037130 bytes, checksum: 28fc63e6d83b37db8ba0a5f3ab21d02a (MD5) 05 Faixa 5.wma: 8246290 bytes, checksum: e61b3d99b32574e7e07bc37cd5228662 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Made available in DSpace on 2015-02-09T18:53:36Z (GMT). No. of bitstreams: 7 Dissertação - Lúcio Silva Pereira - 2014.pdf: 1594411 bytes, checksum: 5cbd4ef5a98c0dfa848284654f9329fb (MD5) 01 Faixa 1.wma: 1648786 bytes, checksum: a5b2dee254892b3222580dc1394d067b (MD5) 02 Faixa 2.wma: 14664514 bytes, checksum: 4e9c32ef525370b2609b68d626986f4b (MD5) 03 Faixa 3.wma: 5252314 bytes, checksum: e0216acc499eba6d07ed0c4bfc454eaa (MD5) 04 Faixa 4.wma: 8037130 bytes, checksum: 28fc63e6d83b37db8ba0a5f3ab21d02a (MD5) 05 Faixa 5.wma: 8246290 bytes, checksum: e61b3d99b32574e7e07bc37cd5228662 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-25
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.
13
Nichols, Kevin Arthur. "Important works for drum set as a multiple percussion instrument." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2952.
Full textAbstract:
The drum set is an evolving instrument and performance concept that for much of its existence has been relegated to a supporting role for an ensemble or soloist in varied mediums, rather than being used, as is well suited for, in a soloistic capacity. Drum set had rather humble beginnings and was often a collection of percussion instruments used only for time-keeping and adding color to the music. However, over time, a considerable amount of solo literature has been composed for drum set and there now exists a substantial repertoire for the varied forms of the instrument. Support for the literature and art form has come from numerous well known composers ranging from John Cage to Stuart Saunders Smith and Frank Zappa. Unfortunately, resistance to performing these solo works comes from a broad-based teaching philosophy that emphasizes teaching rudimental, time-keeping, and stylistic performance practices. In this particular paradigm, soloing is important strictly as improvisation grounded in a thorough understanding of the development of the language of Jazz, rather than as a performance concept. Although this repertoire does include works that address these pedagogical concerns, it also includes some works that present the drum set in more virtuosic solo setting. These compositions offer the performer musical opportunities much like those found in solo works for snare drum, keyboard percussion, timpani, and multiple percussion. While a performer may face an initial challenge in finding quality existing works, he or she can then develop synergy between the interpretive skills developed for orchestral style percussion In this study, the author will examine the body of literature composed for unaccompanied solo drum set. Specific compositions will be identified for their significance in promoting personal growth as a drum set artist. In support of this goal, analysis of the performance practice used in these particular works will be developed. To aid in better organizing the body of literature, the author will categorize
14
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.
Full textAbstract:
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.
15
Hall, David Porter. "Innovations in Musical Texture and Aural Perspective: Steven Mackey's See Ya Thursday for Solo Marimba." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283817/.
Full textAbstract:
This dissertation and accompanying lecture recital explore the unique textural features in the works of Steven Mackey as exhibited in See Ya Thursday (1993).A rigorous formal, harmonic, and motivic analysis will highlight the compositional characteristics of textural structure and aural perspective that exist in the work. Illumination of these compositional elements can help to identify and minimize the technical complexities that exist within this piece for the performer. In addition, this document provides brief biographical information on Steven Mackey and his works, and on See Ya Thursday as it relates to other pieces in the advanced marimba literature. Finally, it is the aim of the author to add a resource to the relatively limited amount of research on Steven Mackey with this analysis of See Ya Thursday.
16
Hampton, Walter Ellis. "Rhythmic Consonance and Dissonance in Eckhard Kopetzki’s Works for Solo Percussion: Topf-tanz and Canned Heat." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700056/.
Full textAbstract:
This study examines the compositional devices Eckhard Kopetzki used to create consonance and dissonance throughout his two works for solo percussion, Topf-Tanz and Canned Heat. By manipulating meter, ostinato, syncopation, polyrhythm, note values and overlapping figures, Kopetzki creates high levels of musical tension and release that shape phrase structure and large-scale form. After a discussion of rhythmic consonance and dissonance, and specific rhythmic devices, both works are considered in detail, illuminating the composer’s compositional language. Topf-Tanz is an exploration of contrasting ideas: the rhythmic and the lyrical, the call and the response, the loud and the soft. It is manifested first in the opposition of antecedent and consequent phrases and second in the overlapping of contrasting metric ideas, which creates prolonged rhythmic dissonance. Canned Heat, on the other hand, is composed through a process of continuing melodic variation. Throughout the piece, melodic motives are prolonged and abridged, creating both delay and acceleration to cadential figures. In contrast to these melodic ideas, each phrase is concluded with stark and syncopated rhythmic punctuations. Topf-Tanz and Canned Heat share Kopetzki’s creation of rhythmic consonance and dissonance. Most notably is the overlapping of contrasting metric ideas between the two hands, and highlighting this contrast through the use of two contrasting instrument families; skin and metal. On the large scale, both works progress from of a place of rhythmic consonance to one of dissonance.
17
Meyers, Nicholaus. "The Importance of Timpani in Today's Percussion Education and as a Solo Instrument." Diss., North Dakota State University, 2014. https://hdl.handle.net/10365/27411.
Full textAbstract:
This study investigated the attitudes and beliefs of college educators and professional percussionists about the importance of timpani instruction for percussion majors at the undergraduate level. The results of a survey, in addition to other sources, were analyzed and showed a need for more education in properly preparing percussion students in the area of timpani. The particular areas discussed further within this study consist of: timpani in terms of the different types of timpani and their place in percussion education; timpani set up; grips and strokes; the stool, mallet choice, and ear training. Additionally, part of this study was geared around developing a recommended list of timpani solos appropriate for instruction in technique.
18
Tanner, Paul. "The 'marimba-vibe' double keyboard: An explorative investigation of a nascent solo percussion idiom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2612.
Full textAbstract:
The development of the concert marimba and invention of the vibraphone in the twentieth century was accompanied by a concomitant growth in repertoire for each instrument. Both belong to the core instrumentation of many new music groups, and percussionists are at times required to perform the instruments simultaneously, combining their distinct timbral personalities. However, the number of solos for the ‘marimba-vibe’ (the term I use to describe a marimba and vibraphone arranged in close proximity to each other in order to be performed by one player) without additional percussion instruments, is minimal. This gap in keyboard percussion repertoire and research remains to be thoroughly examined.
While a large body of performers, repertoire, research, and pedagogical material exists for each instrument, this research makes an examination of musical and non-musical challenges involved in the nascent solo marimba-vibe idiom, aiming to explore its potential and develop strategies to overcome technical limitations. The project involved the composition and commissioning of new works, whilst also creating annotational tools and notational approaches. These works were researched through reflexive practice as they were developed, performed, and recorded. The project aims to contribute to repertoire, technical understandings, and pedagogy for the marimba-vibe, thereby broadening the scope of the ever-expanding field of solo percussion literature.
19
Silveira, Ricardo Jorge Castro Tavares Moreira da. "Keiko Abe e a Marimba Solista." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/18246.
Full textAbstract:
A percussionista japonesa Keiko Abe desempenhou um papel fundamental no desenvolvimento da marimba tal como a conhecemos hoje. A sua influência foi de tal maneira importante que podemos falar, claramente, de um pré- e de um pós- Keiko Abe. Para isso foi determinante a sua actividade em todas as áreas relativas ao instrumento, nomeadamente a criação de um reportório escrito especificamente para a marimba, a evolução e consolidação do instrumento físico enquanto veículo de transmissão musical e expressiva e, por fim, o desenvolvimento do recital de marimba solista. O objectivo último de todos estes processos foi o de permitir à marimba tornar-se num instrumento de concerto, ao nível de outros já instituídos na tradição musical europeia; ABSTRACT: Japanese percussionist Keiko Abe played a fundamental role in the development of the marimba as we know it today. This musician´s influence had such a degree of importance that we can clearly divide the history of the instrument in two parts: one before, and another after Keiko Abe. Abe´s activities in all areas concerning the instrument were crucial for this outcome. We speak, mainly, of the following: the creation of a body of repertoire written specifically for the marimba; the evolution and consolidation of physical aspects of the instrument in order to allow it to become a suitable vehicle of musical expression; and, last but not least, the development of the solo marimba recital. The goal of all these processes was to transform the marimba into a concert instrument, and one at the same level of other already established instruments in the concert world. NOTA: Esta tese tem um recital que não é possível colocar no repositório, deve consultar o documento presencialmente na biblioteca.
20
Thorleiksson, Helgi. "Xenakis - Rebonds b : Preperation, Practise and Performance." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2686.
Full textAbstract:
Every percussionist is faced with many challenges in their studies and their careers. In this paper I hope to shed light on what kind of work goes into preparing, practising and performing a large solo percussion piece and share some of my personal experience with solo percussion music. This is done by choosing a piece from the repertoire and documenting what processes and methods are used from the time a piece has been chosen until it is ready for performance. The subject of this thesis is Rebonds b by Iannis Xenakis for solo percussion. The result is a blueprint that can be useful for young percussionists when they are faced with a large piece from the repertoire and guidelines for what to do when faced with challenges.
21
Cross, Kevin, and Kevin Cross. "How the Darmstadt Internationale Ferienkurse Für Neue Musik Cultivated Solo Multiple Percussion Repertoire Through Graphic Notation and Indeterminacy." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625858.
Full textAbstract:
The Darmstadt Internationale Ferienkurse für Neue Musik (IFNM) contributed to the rise of solo multiple percussion music and compositional techniques found in early repertoire, including graphic notation and indeterminacy. John Cage wrote the first solo multiple percussion work (27' 10.554" for a Percussionist) in 1956, two years before he became involved at the Darmstadt IFNM. Cage then delivered a lecture at the courses in 1958 about indeterminacy, and the next year (1959) Stockhausen composed the second work for solo multiple percussion—Nr. 9 Zyklus—for the IFNM. In the same year, Stockhausen also delivered a lecture about graphic notation. Seven years later in 1966, Helmut Lachenmann—who was active at the IFNM since 1957—composed Intérieur I für einen Schlagzeugsolisten which utilizes graphic notation and indeterminacy. The three pieces by Cage, Stockhausen and Lachenmann will be examined in regards to how they employ graphic notation and indeterminacy and similarities and differences in how these techniques are used will be cited.
22
Licata, Julie M. "Physical gesture, spatialization, form and transformation in Watershed I/IV, for solo percussion and real-time computer spatialization, by Roger Reynolds." Thesis, connect to online resource. Recital, recorded Mar. 20, 2006, in digital collections. Access restricted to the University of North Texas campus. Recital, recorded Jan. 29, 2007, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/ark:/67531/metadc1477.
Full text
23
Zorzetto, Paulo [UNESP]. "Percussão e voz na música-teatro em três obras solo: proposta de um Modelo Vocal para Percussionistas (MVP)." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/144596.
Full textAbstract:
Submitted by PAULO ROGERIO ZORZETTO HYPOLITHO null (paulozorzetto@gmail.com) on 2016-11-06T19:59:27Z
No. of bitstreams: 1
dissertação de mestrado Paulo Zorzetto 2016.pdf: 7471098 bytes, checksum: 09d11ae1d701810ce164a7fb18725499 (MD5)Approved for entry into archive by LUIZA DE MENEZES ROMANETTO null (luizaromanetto@hotmail.com) on 2016-11-10T13:56:32Z (GMT) No. of bitstreams: 1 zorzetto_p_me_ia.pdf: 7462080 bytes, checksum: e9ca8bc71dc1a78ff96f76fe1320147b (MD5)
Made available in DSpace on 2016-11-10T13:56:32Z (GMT). No. of bitstreams: 1 zorzetto_p_me_ia.pdf: 7462080 bytes, checksum: e9ca8bc71dc1a78ff96f76fe1320147b (MD5) Previous issue date: 2016-06-30
Esta pesquisa tem como objetivo geral propor um Modelo Vocal para Percussionistas (MVP), na execução de obras solo em que o uso da voz é requerido, explorando elementos físicos e musicais que fazem parte das práticas diárias do estudante e do profissional da percussão. Para tanto, foram escolhidas três importantes peças do repertório percussivo para a aplicação dos conceitos propostos: ?Corporel, para um percussionista e sons do seu corpo (1985), de Vinko Globokar (1934); To the Earth (1985), de Frederic Rzewski (1938); e URSONATE (1922 - 1932), de Kurt Schwitters (1887 - 1948). Por possuírem características distintas, quanto ao uso da voz, cada uma delas possibilita o entendimento do MVP, como um paradigma teórico amplo o suficiente, para resolver problemas técnicos e interpretativos diversos, a partir da compreensão do contexto em que estão inseridas: a Música-Teatro. Sob as considerações da pesquisadora Claudia Hansen, e do professor Wladimir Mattos, foram estipuladas as bases deste gênero musical, bem como os perfis do percussionista e da percussão que o representam, além daquilo que deve ser levado em conta como sendo a voz e a fala. A partir de três pilares teórico-práticos - a fonoarticulação, a coarticulação e a realização prosódica - as obras escolhidas foram analisadas e preparadas para a performance, levando-se em conta as discussões ocorridas no âmbito da fonética e da fonologia, e as soluções encontradas foram esquematizadas por meio de tabelas, visando a facilitar a compreensão do MVP. Desta forma, esperamos que a proposta do presente trabalho auxilie futuras pesquisas, interpretações e discussões inseridas no universo percussão e voz, acentuando as cores desta tão tênue e simbiótica linha que perpassa os ambientes musical e teatral.
This research aims to propose a Vocal Method for Percussionists (VMP) for playing solo pieces where using the voice is required. The physical and musical elements that are part of the percussionist's daily practice were analyzed. In order to achieve that, three major, well established, percussion pieces were drafted regarding the application of the proposed methods: ?Corporel, for one percussionist using her/his body (1985), by Vinko Globokar (1934); To the Earth (1985), by Frederic Rzewski (1938); and URSONATE (1922 - 1932), by Kurt Schwitters (1887 - 1948). Despite their differences regarding how the voice is used, each one of them enables the reader to assimilate the VMP, as a theoretical paradigm broad enough to figure out a wide range of interpretative and technical issues, fully understanding the context in which they belong: the music-theater. Under Claudia Hansen's and professor Wlad Matos' research analysis, we established the basis of this music genre, as well as the percussionist's and percussion characteristics that define them, and what should be considered as voice and speech. Starting off from three practical-theoretical pillars - articulation of speech, articulatory gesture and the prosodic conduction - the selected pieces were thoroughly analysed, looking for any issues regarding the use of the voice and singling out schematic solutions that would emerge. Thus, we hope that our work may assist future research, interpretation and discussion regarding percussion and voice. Taking into consideration the very gentle and symbiotic confluence within the musical and theatrical environments.
24
Summerlin, Ashley Nicole. "A Repertoire Guide Including Annotations of High School Level Keyboard Percussion Works for Four Mallets." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555496091962409.
Full text
25
Sullivan, Michael. "A pedagogical approach for developing the endurance, technical facility and flexibility necessary to perform Anthony Plog's Concerto for Solo Trumpet, 14 Brass, and Percussion." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528052.
Full textAbstract:
Anthony Plog's Concerto for Trumpet, 14 Brass, and Percussion offers many performance issues and there are many methodologies and pedagogical concepts that one can utilize in order to achieve the endurance, flexibility, and technical facility required. This project report outlines readings and methodologies the author used to achieve the skills listed above. The first chapter discusses the objective pedagogy of David Hickman. Hickman's pedagogy encompasses an array of opinions on common developmental exercises. Chapter 2 concentrates on the methodology of James Stamp, emphasizing range building and endurance but with a unique approach that also develops sound production. The third chapter discusses Anthony Plog's methodology that directly concentrates on the technical facility required to play his concerto. The final chapter discusses preparation for the performance and choosing the appropriate instrument.
26
Abdul-Aziz, Razak. "'The Fisherman' : for six voices (solo singer and SSATB chorus), piano, string and percussion : based on the George Campbell Hay poem of the same name." Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/26080.
Full text
27
Dower, David. "Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1673.
Full textAbstract:
This practice-led project investigates the crafting of approaches to solo jazz piano performance. Through a study and application of assimilation techniques derived from a range of different music styles, a series of self-accompaniments were devised. In addition, the process of developing improvisational facility over these accompaniment patterns was documented.
Although performing solo requires a different approach to ensemble work, jazz pianists are commonly only trained in ensemble practices, rendering the solo setting a potentially overwhelming challenge. In order to move away from ensemble-based methods, the project sought to develop pianistic techniques and exercises that provide an independent approach in solo performance.
Techniques such as ‘splitting’ the pianist’s hands to achieve multiple voices, voice-leading, ostinato, and rhythmic focus were explored as methods to develop independent solo performance. The project follows two trajectories. The first was to develop self-accompaniment patterns for solo jazz piano, an area explored by assimilating techniques outside of the jazz idiom into a solo jazz piano context. These techniques were developed within compositions and arrangements. The second was an examination of the practice processes engaged when performing these techniques, including the development of rhythmic coordination to facilitate improvisation over the composed accompaniment patterns.
The outcome is an exploration of different approaches to developing confidence and aptitude in solo jazz piano performance. As well as the creation of accompaniment patterns for solo jazz piano performance, outcomes of this project include a greater descriptive understanding of the process of assimilating performance techniques onto the piano, and developing an improvisational approach over ostinato accompaniment figures. The scores, as well as recorded performances featuring improvisations over the composed accompaniments, are included with the exegesis.
28
Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.
Full text
29
Deason, William David. "Part I. A taxonomic paradigm from Boethius' De divisione applied to the eight modes of music : Part II. Arioso and toccata for euphonium solo, wind ensemble, harp, and percussion /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487779439847528.
Full text
30
Estes, Kevin M. "Solo and Chamber Percussion Works by Nigel Westlake: An Examination of Fabian Theory, The Hinchinbrook Riffs, The Invisible Men, Kalabash, Malachite Glass, Moving Air, Omphalo Centric Lecture and Penguin Circus." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397567270.
Full text
31
Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textAbstract:
Thesis (Ph. D.)--University of California, Los Angeles, 2008.CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).
32
Schellhas, Daniel H. "PEREGRINATION: A MUSICAL SKETCH OF EUROPE IN FOUR MOVEMENTS." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174323599.
Full textAbstract:
Thesis (M.M.)--Bowling Green State University, 2007.For alto saxophone in E♭, violoncello, piano, percussion (vibraphone, crystal glasses (C,E,G♯, B)) Document formatted into pages; contains 1 score (19 p.) Duration: ca. 13 min. Includes bibliographical references.
33
Silva, Catarina Percinio Moreira da. "Sete obras brasileiras inéditas para percussão: concepção, colaboração e o processo de criação de solos para instrumentos marginalizados." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3959.
Full textAbstract:
Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2014-12-22T13:52:31Z
No. of bitstreams: 1
Dissertação - Catarina Percinio Moreira da Silva - 2014.pdf: 2567916 bytes, checksum: 7d57702d8817541950ad1cf158d3faea (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-28T11:25:07Z (GMT) No. of bitstreams: 1 Dissertação - Catarina Percinio Moreira da Silva - 2014.pdf: 2567916 bytes, checksum: 7d57702d8817541950ad1cf158d3faea (MD5)
Made available in DSpace on 2015-01-28T11:25:07Z (GMT). No. of bitstreams: 1 Dissertação - Catarina Percinio Moreira da Silva - 2014.pdf: 2567916 bytes, checksum: 7d57702d8817541950ad1cf158d3faea (MD5) Previous issue date: 2014-04-25
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research is organized into two sections: (A) Artistic Production and (B) Article. The first presents the repertoire and program notes, the final recital – held on April 25th, two thousand and fourteen, and the first recital – runs on September 6th, two thousand and Thirteen. The final recital exclusively presents premieres of this research composers, while the qualification recital was developed entirely with the resulting pieces of lifting repertoire for percussion marginalized instruments. Section B presents the paper, which discusses the experience of a collaborative process between performer-composer in the creation of seven new works for solo percussion. Initially, the theoretical apparatus of collaboration is exposed, sectioning the material raised on four types of approach to collaborative relationship. Then we discuss the choice of instruments and the use of marginalized experimental technique to realization of new compositions, expressing an aesthetic preference that agree Cagean thought that all sound is equally valid, and consequently that any object is likely to be the focus of a solo composition. The second part of the article deals with Call for new works for percussion. Initially displays the call on your part, drawn from the understanding gained in the bibliographical survey about collaborative relationship; then explains the process of selection of participants composers and finally lists with data on each of the seven compositions written for this research, using the following instruments: bass drum, tinplate, geophone, gongs Beijing, lion's roar, tambourine and bass drum. As a result of the registration of all the stages of relationship with composers, the third part of the article presents some examples of influences inherent in the collaborative authoring process, and this binding element in the exchange of information between collaborative pair of scores to specific passages. Attachments as well follow the scores of works, the process of collaboration, recorded in detail over the various stages of the proceedings including documents, emails and records exchanged between the performer and composers.
Este trabalho está organizado em duas seções: (A) Produção Artística e (B) Artigo. A primeira apresenta o repertório e notas de programa, do recital de defesa – realizado dia vinte e cinco de abril de dois mil e quatorze, e do recital de qualificação – executado em seis de setembro de dois mil e treze. O recital de defesa apresenta exclusivamente peças inéditas de alguns dos compositores que colaboraram com esta pesquisa, enquanto que o recital de qualificação foi elaborado inteiramente com as peças advindas do levantamento de repertório para instrumentos de percussão marginalizados. A seção B apresenta o artigo, que discute, detalha e registra a vivência de um processo de colaboração performer-compositor para criação de sete novas obras para percussão solo. Inicialmente, o aparato teórico sobre colaboração é exposto, seccionando o material levantado em quatro tipos de abordagem sobre a relação colaborativa. Em seguida, discute-se a escolha de instrumentos marginalizados e a utilização de uma abordagem técnica experimental, para realização das novas composições, explicitando uma preferência estética que vai ao encontro do pensamento cageano de que todo som é igualmente válido, e consequentemente, que qualquer objeto é passível de ser foco de uma composição solo. A segunda parte do artigo trata da Chamada para novas obras para percussão. Inicialmente apresenta a chamada em sua íntegra, elaborada a partir da compreensão adquirida no levantamento bibliográfico a respeito de relação colaborativa; depois explica o processo de seleção dos compositores participantes; e finalmente apresenta uma lista com dados sobre cada uma das sete composições escritas para esta pesquisa, utilizando os seguintes instrumentos: bumbo, folha de flandres, geofone, gongos de Pequim, rugido de leão, tamborim e zabumba. Como resultado do registro de todas as etapas de relação com os compositores, a terceira parte do artigo apresenta alguns exemplos de influências inerentes ao processo de criação colaborativa, e para tal vincula elementos da troca de informação entre o par colaborativo a trechos específicos das partituras. Como anexos seguem além das partituras das obras, a documentação do processo de colaboração, registrado em detalhes ao longo dos diversos momentos do processo, entre os quais, e-mails e gravações trocados entre a performer e os compositores.
34
Zorzetto, Paulo 1976. "Percussão e voz na música-teatro em três obras solo : proposta de um Modelo Vocal para Percussionistas (MVP) /." São Paulo, 2016. http://hdl.handle.net/11449/144596.
Full textAbstract:
Orientador: Carlos Eduardo Di StasiBanca: Wladimir Farto Contesini de Mattos
Banca: Arthur Ferreira Rinaldi
Resumo: Esta pesquisa tem como objetivo geral propor um Modelo Vocal para Percussionistas (MVP), na execução de obras solo em que o uso da voz é requerido, explorando elementos físicos e musicais que fazem parte das práticas diárias do estudante e do profissional da percussão. Para tanto, foram escolhidas três importantes peças do repertório percussivo para a aplicação dos conceitos propostos: ?Corporel, para um percussionista e sons do seu corpo (1985), de Vinko Globokar (1934); To the Earth (1985), de Frederic Rzewski (1938); e URSONATE (1922 - 1932), de Kurt Schwitters (1887 - 1948). Por possuírem características distintas, quanto ao uso da voz, cada uma delas possibilita o entendimento do MVP, como um paradigma teórico amplo o suficiente, para resolver problemas técnicos e interpretativos diversos, a partir da compreensão do contexto em que estão inseridas: a Música-Teatro. Sob as considerações da pesquisadora Claudia Hansen, e do professor Wladimir Mattos, foram estipuladas as bases deste gênero musical, bem como os perfis do percussionista e da percussão que o representam, além daquilo que deve ser levado em conta como sendo a voz e a fala. A partir de três pilares teórico-práticos - a fonoarticulação, a coarticulação e a realização prosódica - as obras escolhidas foram analisadas e preparadas para a performance, levando-se em conta as discussões ocorridas no âmbito da fonética e da fonologia, e as soluções encontradas foram esquematizadas por meio de tabelas, visando a facilit... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research aims to propose a Vocal Method for Percussionists (VMP) for playing solo pieces where using the voice is required. The physical and musical elements that are part of the percussionist's daily practice were analyzed. In order to achieve that, three major, well established, percussion pieces were drafted regarding the application of the proposed methods: ?Corporel, for one percussionist using her/his body (1985), by Vinko Globokar (1934); To the Earth (1985), by Frederic Rzewski (1938); and URSONATE (1922 - 1932), by Kurt Schwitters (1887 - 1948). Despite their differences regarding how the voice is used, each one of them enables the reader to assimilate the VMP, as a theoretical paradigm broad enough to figure out a wide range of interpretative and technical issues, fully understanding the context in which they belong: the music-theater. Under Claudia Hansen's and professor Wlad Matos' research analysis, we established the basis of this music genre, as well as the percussionist's and percussion characteristics that define them, and what should be considered as voice and speech. Starting off from three practical-theoretical pillars - articulation of speech, articulatory gesture and the prosodic conduction - the selected pieces were thoroughly analysed, looking for any issues regarding the use of the voice and singling out schematic solutions that would emerge. Thus, we hope that our work may assist future research, interpretation and discussion regarding percussion and voice. Taking into consideration the very gentle and symbiotic confluence within the musical and theatrical environments
Mestre
35
RodrÃguez, Yan Carlos Chiu. "AvaliaÃÃo preliminar da previsÃo da capacidade de carga e do recalque de estacas prÃ-moldadas de concreto em perfis de solos granulares." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=16376.
Full textAbstract:
Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgicoAs estacas prÃ-fabricadas sÃo uma alternativa de fundaÃÃo indicada em situaÃÃes em que a vizinhanÃa nÃo apresenta restriÃÃes quanto a vibraÃÃes decorrentes de sua execuÃÃo. AlÃm disso, perfis de solos com baixa capacidade de suporte superficialmente e que se estende a maiores profundidades tambÃm apontam para a possibilidade de escolha dessa alternativa. Nestes casos, alÃm de outros, fundaÃÃes em estacas prÃ-fabricadas de concreto podem proporcionar fundaÃÃes tecnicamente possÃveis e economicamente mais atraente. Nesta dissertaÃÃo, à feito uma anÃlise da aplicabilidade dos principais mÃtodos de previsÃo de capacidade de carga e recalque de estacas prÃ-moldadas de concreto armado em perfis de solos granulares tÃpico dos encontrados comumente em Fortaleza. O objetivo deste trabalho à avaliar se previsÃes realizadas por mÃtodos semi-empÃricos de capacidade de carga e de recalque, realizados a partir de sondagens à percussÃo (SPT) e em perfis de solos granulares, sÃo concordantes tendo como referÃncia resultados de 7 provas de cargas estÃticas realizadas. AlÃm disso, pretende-se ainda avaliar se, provas de cargas interrompidas prematuramente sÃo capazes de serem extrapoladas de forma a proporcionar previsÃes da carga de ruptura concordantes. Para isso foram realizadas sondagens a percussÃo (SPT) e provas de cargas em alguns locais situados em Fortaleza. A seguir foram estimados os valores da capacidade de carga e do recalque de cada estaca ensaiada nas provas de carga, e para a carga de trabalho, atravÃs de mÃtodos semi-empÃricos, utilizando valores do Ãndice resistÃncia de sondagens à percussÃo (NSPT) corrigidos, e nÃo corrigidos, a partir da estimativa da eficiÃncia das sondagens utilizadas. As previsÃes realizadas a partir dos valores do Ãndice resistÃncia (NSPT) corrigidos proporcionaram estimativas da capacidade de carga e do recalque das estacas avaliadas mais concordantes. Os mÃtodos semi-empÃricos que apresentaram uma maior concordÃncia nas previsÃes das capacidades de carga foram o Aoki e Velloso (1975) e o Decourt e Quaresma (1982). Os mÃtodos semi-empÃricos que apresentaram uma maior concordÃncia nas previsÃes de recalque foram Bowles (1979) e Poulos & Davis (1980).
Prefabricated piles are a foundation of alternative indicated in situations where the neighborhood has no restrictions on the vibrations resulting from its implementation. In addition, soil profiles with low carrying capacity and surface extending deeper also indicate the choice of this alternative. In these cases and others, foundations Precast piles of concrete foundations can provide technically feasible and economically attractive. In this dissertation, it is made an analysis of the applicability of the main load capacity forecasting methods and repression of precast piles of reinforced concrete in typical granular soil profiles of commonly found in Fortaleza. The objective of this study is to evaluate whether predictions made by semi-empirical methods of load capacity and repression, carried out from polls to percussion (SPT) and granular soil profiles are consistent with reference to results of 7 load tests still performed. Furthermore, even if you want to evaluate whether evidence interrupted prematurely loads are able to be extrapolated to provide consistent breaking load forecasts. For that they were conducted polls percussion (SPT) and evidence of loads in some places situated in Fortaleza. The following were estimated values of load capacity and settlement of each tested stake in load tests, and the workload, through semi-empirical methods, using values of resistance index surveys to percussion (NSPT) corrected, and uncorrected, from the estimation of efficiency of used soundings. The predictions made from the values of the resistance index (NSPT) provided fixed load capacity of estimates and the settlement of the piles evaluated more consistent. The semi-empirical methods that presented a greater agreement on forecasts of load capacities were Aoki and Velloso (1975) and Decourt and Lent (1982). The semi-empirical methods that showed a higher agreement in settlement predictions were Bowles (1979) and Poulos & Davis (1980).
36
Snowden, Steven 1981. "Long distance : for solo percussion, wind ensemble, and electronics." Thesis, 2014. http://hdl.handle.net/2152/25254.
Full textAbstract:
Long Distance is a work for solo percussion (marimba and vibraphone), wind ensemble, and electronics consisting of four movements and lasting approximately twenty minutes. Each movement is designed to be able to stand on its own and, when multiple movements are performed, their order is flexible. A version of this piece with no wind ensemble also exists and was commissioned by a consortium of 33 percussionists. From its inception, this solo version was composed with the possibility of expansion to a larger instrumentation in mind. In this paper, I will discuss and analyze many of the factors and influences involved in my composition process for this piece. This will include performance techniques, extracting and utilizing musical material from field recordings, audio processing techniques, orchestration, drawing musical inspiration from non-musical sources, and stylistic juxtaposition. In addition, I will provide some background on how this commission came about and how composition as a collaborative process shaped this piece especially in the context of working with such a large and diverse consortium.text
37
"Instrument Design in Selected Works for Solo Multiple Percussion." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15987.
Full textAbstract:
abstract: Instrument design is intrinsic to multiple percussion solo performance preparation, from formulating a physical layout of instruments that best suit each work's technical requirements to fabricating unique instruments to fulfill each composer's sonic specifications. Several works in the multiple percussion repertoire require setups comprised partly or entirely of performer-built instruments. Given that performers have varying degrees of expertise with instrument design and construction, the specialized instruments created do not necessarily meet the level of care with which many of the masterworks in the percussion field were created. Even with the many articles, books, and other publications regarding the instrument design issues of specific works, solo percussion literature is so varied that many set-ups are created using a set of nebulous guidelines. Developing solutions to the problems inherent in multiple percussion instrument design is clearly a continuing effort. Instrument and setup design within selected works for solo multiple percussion is the focus of this document and will be addressed through specific examples from literature commonly performed on concert stages and educational institutions. The scope of this document is limited to the widely applicable design issues of three pieces: Maki Ishii's Thirteen Drums: for Percussion Solo, Op. 66 (1985), David Lang's The Anvil The Chorus: for Percussion Solo (1991), and Steve Reich's Music for Pieces of Wood: for claves (1973). The set-up designs for these pieces suggested by the author are largely the focus for which other material in this document is preparatory.Dissertation/Thesis
D.M.A. Music 2012
38
Liu, Yi-Lin, and 劉奕麟. "Yi-Lin Liu Percussion Recital (with a supporting paper PERCEPTION for Percussion Solo: An Original Composition with Commentary." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/xq2urd.
Full textAbstract:
碩士國立交通大學
音樂研究所
102
The supporting paper consists of two parts: the music composition Perception for solo percussion, and the statement of musical ideas, compositional materials and techniques, as well as the connection with the contemporary percussion classics. Perception is a three-movement work for solo percussion, was composed in the spring of 2014. The composer was inspired by personal experience. The subtitles of the three movements, Inception, Perception, and Gratification, represent a spiritual journey of the composer. Various combinations of intervals, timbre, rhythm and performance techniques are elaborately created and executed in order to express the emotions, internal struggle, and spiritual epiphany in a period of the composer’s life.
39
Weng, Yen-Ching, and 翁嬿景. "The Analysis and Interpretation of 《Psappha》Percussion Solo by Iannis Xenakis." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/r3z265.
Full text
40
CHUNG, CHEN-YANG, and 鍾鎮陽. "Analysis and interpretation of 《Proteus》for percussion solo by Jesús Torres." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/68gkw3.
Full text
41
Chu, Yi-Jou, and 朱苡柔. "YI-JOU CHU PERCUSSION RECITAL WITH A SUPPORTING PAPER ANALYSIS AND INTERPRETATION ON GEORGE APERGHIS’S GRAFFITIS POUR PERCUSSION SOLO." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/j6z95x.
Full textAbstract:
碩士國立交通大學
音樂研究所
105
Works from the musical theater in modern times are much more than instrumental performance. The musical structure and how it is interpreted on the stage have been taken into consideration when the composers select their materials and methods to compose new works. Works from modern musical theater have transcended the only way of appreciation—listening, compared to classical music; they create a synthesis of visual and auditory senses which enables the audience to understand the implications of the piece. Graffitis is a work from the musical theatre composed by French composer Georges Aperghis (b. 1945-). Though instrumental arrangements are marked throughout the work, the composer has noted that it is acceptable to replace those instruments with others. Drumsticks are not used throughout the work; therefore, the performers have to find a balance between the volume of the vocal and the instruments. The author aims to interpret the twists and turns and the dramatic effects of this work through an analysis of the composing methods and background, along with a discussion on individual emotions and features. The thesis is divided into five chapters. In the first chapter, the author states her research methods and motivations. In the second chapter, a synopsis of the composer’s life and his composition techniques are introduced. The third chapter includes an analysis of Graffitis, which discusses the instrumental arrangement, musical notation, and overall structure of the work. The fourth chapter further interprets the work. Selection of instruments, voice language, theatric interpretation and implications are discussed in detail. The fifth chapter draws a conclusion, stating the inspirations the author has found out of the research.
42
Lo, Meng-Ling, and 羅孟玲. "The Analysis and Interpretation of Jer-Huei Chen''s Percussion Solo “Collections”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/99uw8d.
Full textAbstract:
碩士台南應用科技大學
音樂系碩士班
105
This thesis examines, analyzes and interprets"Collections", which is a percussion solo piece created by Jer-Huei Chen, by interviews with the composer to have deep understanding for research and playing. Mr. Chen uses script notation to create "Collections". Performers portray the storyline and atmosphere included in "Collections" through reciting the writing and playing. The music and play presented in both visual and audio expresses Mr. Chen''s music story including how he insists on collecting small stuff, his feelings, thoughts and how he is touched by his own collection. This thesis consists of five chapters. The first chapter refers to the background and motivation for this study. The definition and elements of music theaters are discussed in the second chapter. The third chapter focuses on the composer''s background and music works. In the fourth chapter, the way to play the script notation, interpret the story told in "Collections", the work''s meaning and implications are discussed in detail. Mr. Chen''s motivation and technique for creation of "Collections", and character of this piece of music is analyzed as well. The fifth chapter is "Results" which summarizes the key points of creation of music theaters. In addition, integration of my reflection of doing this research and playing "Collections" is provided as an important foundation and reference for people who are interested in doing further research into music theaters. Suggestions for future researchers are also made in this chapter.
43
楊晏欣. "The Analysis and Interpretation of “Hinomi” for Solo Percussion by Michael Finnissy." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/x84z3k.
Full text
44
Shi-Han, Hung, and 洪詩涵. "The Analysis and Interpretation of Brian Blume’s“Psalm104” for Multiple Percussion Solo." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9mqc2x.
Full textAbstract:
碩士國立嘉義大學
音樂學系研究所
107
Psalm104 is a multiple percussion solo written by American composer Brian Blume (1985- ). Multiple Percussion is a creative work including a variety of songs, for example ,“Concert Percussion”, “Indoor Percussion”, “Holiday Music”, “Electronic Media”, “Marching Band”, etc. During the e-mail interview with Brian Blume, he mentioned about his teacher Kevin Bobo who gave his encouragement for him to have the motivation about writing a multiple percussion solo with the type of basic rhythm. The music work was including continuous semiquaver rhythms, syncopated rhythms and fast tone clusters. Therefore, due to Kevin Bobo’s support and inspiration, Brian Blume finally completed Psalm104. The Reason why Psalm104 attracts to the audience so much, is owing to the work which includs accuracy of strength requirement, also soloist could control the sense of rhythm in between the complicated melodies. Thus, when the soloist is performing, it is not only testing the rhythm flow or body coordination, but also extremely showing Brian Blume’s respect and emotion to the god. Finally, this thesis gives everyone the deeper analysis and study for Psalm104, also shows the music a style and performance. It is hoped that readers not only understand the appearance of music, but experience Brian Blume and his feature of work.
45
"Performer and Electronic-Activated Acoustics: Three New Works for Solo Percussion and Live Electronics." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.36396.
Full textAbstract:
abstract: Technological advancements in computers and audio software and hardware devices in the twenty-first century have led to the expansion of possibilities for music composition, including works for acoustic instruments and live electronics. Electroacoustic composition is rapidly and continually evolving, and much that has been written about compositional techniques for percussion and live electronics is becoming outdated. Live electronics include performer-triggered events, audio processing, electronic responses to various inputs, and electronic decision-making during live performances. These techniques can be employed in a variety of ways. This project sheds light on how modern composers of different musical and cultural backgrounds reimagine the use of percussion through the lens of new technologies.
Through the commission, examination, and recording of three new works for solo percussion and live electronics, the author seeks to further explore and highlight electroacoustic compositional techniques for solo percussion. A specific compositional element to be included in these commissioned works is the activation or manipulation of the acoustic properties of percussion instruments by electronic components. The three artists who contributed works are percussionist-composer Jeremy Muller, composer and multimedia artist Jordan Munson, and composer, sound artist, and performer Garth Paine. The creativity demonstrated in their previous works made them desirable candidates for this project. Each of them approached their composition in different ways. In Hysteresis, Muller utilizes a loudspeaker underneath a vibraphone to expand the sound palette of the instrument with microtonal electronic sounds that match the instrument’s timbre. In Where Light Escapes You, Jordan Munson layers various electronic sounds with the vibraphone to create a slowly evolving texture that also incorporates a bass drum and the buzzing of snare drums. In Resonant Textures, Paine spatializes vibraphone, cymbal, and electronic sounds to create a meditative and immersive listening experience. Ultimately, each of the three composers implemented distinctive compositional and performance tools to create new works that provide a glimpse into the future of percussion music.Dissertation/Thesis
Hysteresis recording
Where Light Escapes You recording
Resonant Textures recording
Doctoral Dissertation Music 2015
46
Catania, Michael Wingate Mark. "Something to be happy about Solo for tenor pan and orchestra /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08272003-145846/.
Full textAbstract:
Thesis (M.M.) -- Florida State University, 2003.Advisor: Mark Wingate, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-17-03). Document formatted into pages; contains 77 pages. Includes biographical sketch.
47
Lee, I.-Lin, and 李依琳. "The Music Analysis and Performance Interpretation ofPer Nørgård’s Percussion Solo Work : I Ching." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/j29252.
Full text
48
Chou, Yun-Ju, and 周芸如. "The Interpretations and Analyses of Chinese Traditional Source Materials In Solo Percussion Works." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/f5dzw3.
Full text
49
Yan, Wan-Ching, and 顏婉清. "WAN-CHING YEN PERCUSSION RECITAL WITH A SUPPORTING PAPER ANALYSIS AND INTERPRETATION ON JEAN-PIERRE DROUET’S-UN CHIEN DEHORS POUR PERCUSSION SOLO." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/jpkn47.
Full textAbstract:
碩士國立交通大學
音樂研究所
104
"Un Chien Dehors pour percussion solo" was written in 1985 by the French composer and percussionist Jean-Pierre Drouet (1935 ~ ). During the productive time in his career, he began to take a liking to jazz music in 1950 and started to employ improvisation techniques in his works. After he left school (1959) he acquainted Italian composer Luciano Berio, when he began to devote himself to the creation of modern music, experimenting with a variety of materials, such as the combination of Western musical instruments with percussion techniques and languages of Oriental tambourine, Iranian drum “Zarb”, and Indian tambourine “Tabla”. Drouet masters these percussion performance techniques and is proficient in their musical languages; therefore, by exploring "Un Chien Dehors pour percussion solo" in depth, the author, as a percussionist, aims to understand how the composer integrated percussion performance techniques and his own creative thinking process in order to achieve balance between performance and compositional techniques. The author studies and analyzes "Un Chien Dehors pour percussion solo" by Jean-Pierre Drouet in the following approaches: first, detailed analysis of formal structure and compositional techniques are examined by inspecting the use of sound materials; second, the author, through this supporting document, compiles the characteristic compositional style and vocabulary of Drouet, who is very active in modern-day French music scene; third, through in-depth exploration of musical analysis and interpretation of performance, the author hopes to achieve greater ideas and knowledge, thus enhancing her experience of performance and interpretation on this work. The document is divided into five chapters for research and analysis: the first chapter is introduction; the composer's life and the compilation and comparison of his works are described in chapter two; the formal analysis and materials used are summarized in depth in chapter three. Chapter four presents the musical interpretation and explores the use of vocals, some special performance skills, the function and role between vocal and instrumental music, and how to achieve balance between these sounds, etc., in order to enhance the perspectives of the author’s view on interpretation. Conclusion is presented in chapter five, where the author describes her own inspirations gained during the process of this research and her retrospection on which attitude one should adopt facing the music.
50
Faustino, Rui Filipe Jesus. "Música Para Bateria Solo: Um Estudo da Bateria na Música Erudita." Master's thesis, 2018. http://hdl.handle.net/10362/54185.
Full textAbstract:
O repertório escrito para a bateria tem crescido continuamente nos últimos trinta anos.
Tanto como solista, ou incorporada ou em grupos de música de câmara, os conceitos e abordagens
propostos pelos compositores para a bateria têm sido variados. Em ocasiões, a bateria é-nos
proposta, com a mesma tipologia que traz da música popular, mas, colocada num outro contexto.
Também é possível, encontrarmos a bateria modificada e preparada, propondo o próprio
instrumento, uma mudança de paradigma.
O núcleo do projecto consiste em quatro peças compostas exclusivamente para a bateria.
Serão apresentadas em formato áudio com partitura e descrição.
O trabalho também irá contextualizar o instrumento historicamente, e apresentar, nalguma
extensão, os instrumentos constituintes da bateria. Pretende-se reforçar e propor a abordagem da
bateria, enquanto instrumento solista no contexto da música contemporânea de tradição artística
europeia. Reforçar porque, a ideia que vai ser trabalhada e apresentada não é inédita, mas é de
origem relativamente recente, e propor, porque a abordagem pessoal é sempre singular e únicaRepertoire for the drum set has developed continuously in the last thirty years. Either as a soloist, or in chamber music, the composer's proposed concepts and approaches have been variable. Sometimes, the drum set is proposed as we know it from popular music, but placed in a different context. It is also possible, to find a modified and prepared drum set, suggesting the instrument itself a paradigma change. The main aspect of this project comprises four pieces written exclusively for the drum set. They will be presented in audio format with score, and piece description. The work will contextualise the instrument historically, and to some extent, introduce the different instruments which built the drum set. The aim is to strenghthen and propose the drum set as a soloist instrument within the contemporary music of european tradition. To strenghthen, because, it is not an unprecedented idea, but is a relatively new one. To propose, because the personal approach is always distinctive and unique.