Relevant bibliographies by topics / Wind instrument and percussion music

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  1. Journal articles
  2. Dissertations / Theses
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Academic literature on the topic 'Wind instrument and percussion music'

Author: Grafiati
Published: 22 February 2023
Last updated: 23 February 2023

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Journal articles on the topic "Wind instrument and percussion music"

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S, Sivasankar, and Alaguselvam A. "Beautiful Neduvangiyam also known as Nagasuram." International Research Journal of Tamil 3, no. 2 (March 30, 2021): 65–69. http://dx.doi.org/10.34256/irjt2129.

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The purpose of this study is to understand one of the earliest known non-brass double-reed instrument called Nagasuram (Nadaswaram). Our ancestors while defining Tamil music grammar in parallel focused on sound engineering, which helped them to invent new musical instruments. Sangam era alone saw more than 30 percussion and wind instruments. Among them, few instruments like Veenai, Urumi and Nagasuram are worth mentioning since their design techniques were known only to a handful of families. Their performance really stands out due to their versatile and adaptable nature to all genres of music. Music instrument, like any other scientific invention goes through the same process of trial and error before getting standardized for general use. Instruments with strong adherence to scientific and acoustic principles gain prominence among the rest, as they undergo minimal structural changes. Nagasuram (Nadaswaram) is one such instrument, which was passed on to us for generations. This instrument readily complies with acoustic principles such as sound impedance, Helmholtz resonance, wave theory etc. to get the characteristic of a loudest non-brass wind instrument.
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P, Divyarupasarma. "An Overview of the Percussion Instrument Mridangam and its Rhythm." International Research Journal of Tamil 4, S-9 (July 27, 2022): 51–56. http://dx.doi.org/10.34256/irjt22s97.

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The "Harmonious Tune and Rhythm" are music's two ears. Rhythm is what determines the time scale of musical compositions. If the rhythm is wrong, the controls of the music will not be in order. Rhythm is what keeps music under control. In classical music, pitch is equated with mother and rhythm is equated with father. Pitch instruments include string instruments, wind instruments. Rhythmic instruments include the drums, jal tarang, cymbals, and string instruments. Some great geniuses have said that rhythm is the life of music. Through ancient literature, we learn about the formation of leather musical instruments, their structure, and their use. Leather instruments were used in various stages of human life. Musical instruments such as Thannumai (one-headed drum), Muzhavu (tomtom-large drum), Matthalam (big drum) and Mridangam (percussion instrument) have been developed as primary instruments in classical music syllabuses, stage performances and percussion instruments. References to musical instruments such as Thannumai, Mozhavu, Matthalam, and Mridangam are found in literary texts such as' Tolkaappiyam, Silapathikaram, Pancha Marabu.’ In ancient times, tools were made from clay. At present, they make instruments out of glass, wood, and fibre wood. They form joints in the skins of animals. Rice and iron powder are used for the sound. In this period, the names of Tannumai, Muzhavu, and Matthalam are changed to Mritangam. Literary messages of Mridangam, thong used for tying, right side joint, left side joint, method of putting rice, trees used, and words used can be seen in this study.
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Pawlaczyk-Łuszczyńska, Małgorzata, Małgorzata Zamojska-Daniszewska, Adam Dudarewicz, and Kamil Zaborowski. "Pure-Tone Hearing Thresholds and Otoacoustic Emissions in Students of Music Academies." International Journal of Environmental Research and Public Health 18, no. 3 (February 1, 2021): 1313. http://dx.doi.org/10.3390/ijerph18031313.

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The objective of this study was to assess the hearing of music students in relation to their exposure to excessive sounds. A standard pure-tone audiometry, transient-evoked otoacoustic emissions (TEOAEs) and distortion-product otoacoustic emissions (DPOAEs) were determined in 163 students of music academies, aged 22.8 ± 2.6 years. A questionnaire survey and sound pressure level measurements during solo and group playing were also conducted. The control group comprised 67 subjects, mainly non-music students, aged 22.8 ± 3.3 years. Study subjects were exposed to sounds at the A-weighted weekly noise exposure level (LEX,w) from 75 to 106 dB. There were no significant differences in the hearing thresholds between groups in the frequency range of 4000–8000 Hz. However, music students compared to control group exhibited lower values of DPOAE amplitude (at 6000 and 7984 Hz) and signal-to-noise ratio (SNR) (at 984, 6000, and 7984 Hz) as well as SNR of TEOAE (in 1000 Hz band). A significant impact of noise exposure level, type of instrument, and gender on some parameters of measured otoacoustic emissions was observed. In particular, music students having LEX,w ≥ 84.9 dB, compared to those with LEX,w < 84.9 dB, achieved significantly lower DPOAE amplitude at 3984 Hz. Meanwhile, both TEOAE and DPOAE results indicated worse hearing in students playing percussion instruments vs. wind instruments, and wind instrument players vs. students playing stringed instruments.
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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.

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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. H&#225;ba, 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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Surtihadi, R. M. "Music Acculturation in Rhythm of kapang-kapang Bedhaya and Srimpi Dance in the Keraton of Yogyakarta (A Case Study)." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 47. http://dx.doi.org/10.24821/ijcas.v3i2.1844.

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The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section), and stringed (stringed section) in the rhythm of the dances which are being mentioned above. The method which is being used first is by doing the quality data analysis. The result of the research are two mainly findings; those are 1) the inclusion of various elements of the palace ceremonial ritual by The Netherlands Indies government which were the impact of the European Colonization in the island of Java, especially in Yogyakarta; it has made a mentally structure of the people of Yogyakarta that would have created culture capitalized and which are being used in the context of Yogyakarta as the city of culture. 2) European military music for marching is being the inspiration of the palace to create Gendhing Mars which is being used as the rhythm in the marching movements of female dancers (kapang-kapang) together along with the ensemble of Javanese Traditional Gamelan Orchestra and the European music instruments which are being played in one sound (unisono).
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Krasnikova, T. N., and M. A. Stepanova. "DEDICATED TO THE ANNIVERSARY." Arts education and science 1, no. 30 (2022): 197–200. http://dx.doi.org/10.36871/hon.202201023.

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The article is devoted to the 65th birthday and 40th anniversary of the creative work of the composer, Honoured Artist of Russia, Laureate of Moscow Prize, Professor Victor Stepanovich Ulyanich. To celebrate this event, a concert was held at the Concert Hall of the Gnesins Russian Academy of Music on November 27, 2021. The concert program included works of a wide genre and stylistic range. In the first part there were compositions for various instrumental ensembles with the harp — the instrument the composer preferred throughout his life. Two symphonies were performed in the second part: the concert symphony for clarinet, harp and chamber orchestra "Bells of the Soul", previously presented on the CD with music by Victor Ulyanich, and the pastoral symphony "Sounds of Wind, Rain and Rainbow" for 12 flutes, harp and percussion quartet, from 2021, which was performed for the first time.
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IOAN, Cristina-Mioara. "Methodology of training music education in children and young people with the help of wind and percussion instruments, in the fanfare ensemble." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 131–40. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.14.

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The artistic phenomenon of fanfare music for ensembles made up of children and youth has seen a large development in the NV region of the country in recent years, through the enthusiasm of some musicians, teachers or conductors, but also through the openness to culture of some local communities. The assimilation of musical and instrumental notions was done through individual study coordinated by teachers or conductors, and the musical product was assembled in the band, to be presented in concerts and parades. The teaching methods used in the training of these instrumentalists are the methods used in vocational art education, although they studied the instrument as amateurs. The artistic results made the individual products (instrumentalists) become a nursery for music faculties and academies in Transylvania.
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Cajamarca Cárdena, Wilson Bolívar, Karola del Rocío Álvarez Pesántez, Gabriela Nataly Ochoa Urgilés, Guido Esteban Abad Vicuña, and Erika Priscila Montaño Loja. "Hipoacusia laboral en ejecutantes de la Orquesta Sinfónica de Cuenca, 2019." Revista Médica del Hospital José Carrasco Arteaga 14, no. 1 (April 30, 2022): 13–18. http://dx.doi.org/10.14410/2022.14.1.ao.02.

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BACKGROUND: Noise-induced hearing loss (NHL) is the second leading cause of hearing loss, after presbycusis. It is considered an occupational disease and a public health problem. The aim of this study was to establish the prevalence of occupational noise-induced hearing loss and its association with other sociodemographic and occupational variables in performers of Cuenca’s Symphonic Orchestra in 2019. METHODS: This is an observational, analytical, cross-sectional study, whose universe was conformed by the professional musicians of Cuenca’s Symphonic Orchestra in 2019. We aimed to establish the risk of noise-induced hearing loss in association with variables such as age, sex, hours of daily practice, material of the instrument played, and years of exercise as a musician, throught Odds Ratio statistical test. The 45 musicians were surveyed and audiometric tests were performed. RESULTS: The universe consisted of 45 musicians: 38 males and 7 females. The average age was 40 years. 46.7% played a musical instrument profesionaly for more than ten years and 53.3% for up to ten years. 60% practiced more than 10 hours a day. 53.3% played string instruments, 20% woodwind instruments, 17.8% brass instruments and 8.9% percussion instruments. The prevalence of hearing loss was 17.8%: 13.3% bilateral and 4.4% unilateral. The prevalence of mild hearing loss was 8.9%; moderate in 6.7% and acoustic trauma occurred in 2.2%. Age (>30 years) and working time (>10 years) represented risks for hearing loss development. CONCLUSION: The prevalence of noise-induced hearing loss was 17.8%, mostly mild and bilateral. All those who were affected were male. The prevalence was higher among musicians who played wind-metal instruments; however, no statistically significant association was found. Being older than 30, and having played professionally for more than years are risk factors for noise-induce hearing loss.
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Холопова, В. Н. "The Concept of “Multimedia” in the Music of Igor Kefalidi." Журнал Общества теории музыки, no. 4(28) (December 28, 2019): 10–17. http://dx.doi.org/10.26176/otmroo.2019.28.4.002.

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Понятие «мультимедиа» в настоящее время весьма широко используется в образовании, науке, искусстве, рекламе; в сфере музыки — в клипах развлекательных жанров. Задача статьи — очертить круг явлений мультимедиа в творчестве композитора академической традиции — И. Л. Кефалиди. Наиболее типична для данного автора трехкомпонентность: электронные звуки, звучание акустических инструментов и видеоряд — в частности, в его лучших сочинениях «TapeEхt», «S_S_S». Кроме того, имеются произведения, включающие: инструментальный театр — электроника, ударные инструменты, театральные движения, видео («Percato molto»); танец — электроника, танец, ударные, видео («Sophisteia»); партию вокала — электроника, человеческий голос, духовые, видео («…so und auch so…»); использование лазерных лучей («Feu le fol, eh!»). У других авторов композитор отмечает мультимедиа без электроники: инструментальный ансамбль и видео (Ф. Парис). В качестве показательного примера в статье разбирается сочинение «S_S_S», созданное в сотрудничестве с художником Э. Квинном. At the present time the concept of “multimedia” is quite widespread and is used in education, science, art and advertisement; in the sphere of music it is used in clips of entertainment genres. The aim of the article is to trace the circle of phenomena of multimedia in the works of a composer of the academic tradition – Igor Kefalidi. Most typical for this composer is the following triad of components: electronic sounds, the sounding of acoustic instruments and video footage, in particular, in his best compositions – “TapeEхt” and “S_S_S”. In addition, the composer has written compositions, which include: instrumental theater – electronics, percussion instruments, theatrical motions and video (“Percato molto”); dance – electronics, dance, percussion and video (“Sophisteia”); vocals – electronics, human voice, wind instruments and video (“…so und auch so…”); employment of laser beams (“Feu le fol, eh!”). The author knows multimedia works by other composers without electronics: instrumental ensemble and video (Francois Paris). As a representative example, the article examines the composition “S_S_S”, created with the assistance of artist Andrew Quinn.
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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.

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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and percussion instruments were played in the Vilnius Cathedral. The academic wind and percussion instruments, having been since ancient times used in the army of various European countries, including the Grand Duchy of Lithuania, became adapted by the musical culture of the manors and dioceses, finding their use during pilgrimages, celebratory processions, services, etc. During the Renaissance and Baroque periods, an especially important social and cultural role was played by the Vilnius Academy, established by the Jesuits, at which also instruction in music was offered. The Jesuits organized particularly pompous processions of the Corpus Christi, which included theatrical performances, participation of numerous musicians and singers, firing guns, etc. According to the archived data, during the Baroque times the majority of the churches or the affiliated brethrens used to possess both the brass and the percussion instruments: usually – two or more trumpets, French horns, and kettledrums. These instruments were regarded necessary in order to celebrate the titular feasts of the parish in the appropriate way, that is, with musical accompaniment, or to travel likewise to the festivities held in the neighborhood. Thus the folk piety tradition of the brass bands got shaped, which, having already disappeared in other Lithuanian regions, continues to live on in Samogitia in the 20th–21st century. It is particularly important in relation to the rituals of visiting the Samogitian Calvary (Žemaičių Kalvarija) – a variety of the popular baroque European tradition of the Way of the Cross (Via Crucis), the first one of which in the Grand Duchy of Lithuania was established in Samogitia. Quite likely, these Stations of the Cross since their very establishment used to be visited ceremoniously, including singing and the appropriate accompaniment by wind instruments and kettledrums. This tradition survived in spite of being prohibited both during the tsarist Russian oppression and during the Soviet atheism periods. During the Soviet occupation the musicians, although being harassed or even arrested, still used to go to play at the religious feasts, thus expressing not only their devotion, but also their protest against the regime of the religious oppression. After Lithuania regained its independence in the end of the 20th century, the new kind of worshipers who had been brought up unaware of the traditional Calvary Hymns singing started the new way of singing accompanied by kanklės (Lithuanian cithertype instrument) and guitars. Still, in spite of this wave of musical pluralism, the brass bands preserved their positions. Until the present day, worshipers visiting the Stations of the Cross at the Samogitian Calvary are accompanied by the musicians playing the brass instruments, who are traditionally rewarded with money. Depending on the particular worshipers’ needs, three kinds of functions performed by the musicians can be discerned: firstly, the group of 4 to 6 musicians may only play; secondly, 2 to 5 musicians lead the prayers both singing and playing; and thirdly (a medium variant), the group of 4 to 6 musicians both plays and sings. The analysis presented in the article allows maintaining that prior to becoming part of the wedding, christening and funeral rituals of the village people, brass instruments had already become an integral part of the musical expression of the exceptional solemnity of folk piety.
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Dissertations / Theses on the topic "Wind instrument and percussion music"

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

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In 1995 Charles Timothy Sivils completed his study, "Notable Percussion Excerpts of the Twentieth Century Wind-Band Literature." Sivils' intention was to create a formal list of percussion excerpts from substantial, originally composed wind-band literature that could supplement the study of orchestral excerpts. However, because of the continuingly increasing amount of literature being written and published for wind-bands, Sivils' original list no longer reflects recent or current trends in percussion writing for the wind-band. The objective of this study is to expand upon Sivils' excerpt list.The parameters outlined in Sivils' document have been adopted for this study with only minor adjustments. This paper will examine only the following wind-band compositions: (1) Compositions written between 1980 and 2005; (2) Compositions generally considered part of the standard wind-band repertoire; (3) Compositions originally conceived for the wind-band; (4) Compositions which do not feature a soloist in a concerto format; (5) compositions that are considered "concert marches" or movements entitled "March" from a multi-movement work.To provide the author with a body of information from which to start the research, a survey was sent to approximately forty wind-band conductors and percussionists throughout the United States asking them to list pieces, following the parameters previously outlined, from the wind-band repertoire that they feel contain the most significant percussion excerpts. Thirty-eight percent of those surveyed responded. Twenty-four of the suggested works were included in this study, creating a combined list of seventy-six excerpts from this and Sivils' document.Through the use of music notation software, a portion of each part has been reproduced as it appears in the original score. No attempt has been made to correct misprints or improve upon the composer's original notation. The excerpts have been formatted to create a single practicable part that contains all of the concerns discussed in the preceding pages. As with Sivils' study, a major component of this project has been to make the performer aware of these excerpts and to give insights into their performance.
School of Music
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White, Marc M. "Percussion scoring and orchestration in the wind and percussion ensemble literature of Jared Spears and David Gillingham." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/white%5Fmarc%5Fm/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
Accompanied by recitals, recorded Nov. 14, 1994, Nov. 20, 1995 and Nov. 23, 1999. Includes bibliographical references (p. 115-117) and discography (p. 118-119).
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Sivils, Charles Timothy. "Notable percussion excerpts of the twentieth century wind-band repertoire." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392911533.

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Nichols, Kevin Arthur. "Important works for drum set as a multiple percussion instrument." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2952.

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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
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Tan, Anthony. "--then time killed the wind-- : for percussion quartet and live electronics." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116055.

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...then time killed the wind... is an original musical composition scored for percussion quartet and electronics with a duration of fourteen minutes. This work explores metaphorical relationships between biological processes and musical processes. The primary constructive element in the work is a rhythmic language based upon the assignment of rhythmic cells to genetic sequences. Furthermore, biological models such as inverted repeats, zeitgeber, 2-D representations of DNA and cross-breeding were applied to musical parameters such as form, pitch, harmony and live electronics.
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Marini, Mario Antony. "The Notation and Engraving of Percussion in Modern Wind Band Composition." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1458918604.

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McGarvey, Timothy D. "Desi, Bizarro, and Motown Metal the wind and percussion music of Michael Daugherty /." [S.l. : s.n.], 1997. http://catalog.hathitrust.org/api/volumes/oclc/57205361.html.

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Batzner, Jay C. Miller Walter M. Mobberley James. "Illuminations." Diss., UMK access, 2006.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
For wind ensemble. "A dissertation in music composition." Advisor: James Mobberley. "Inspired by central themes found in Walter M. Miller's science-fiction classic A canticle for Leibowitz"--p. ii. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
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Hughes, Russell M. 1954. "Contours." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278234/.

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Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.
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Howell, Jocelyn. "Boosey & Hawkes : the rise and fall of a wind instrument manufacturing empire." Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/16081/.

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For over 150 years the names Boosey and Hawkes dominated the British music scene, at first independently, and from 1930, in response to the difficult trading conditions of the Depression, as a single firm – Boosey & Hawkes. Although it was run as one company it comprised two divisions – the publishing business and instrument manufacturing. This thesis examines the history, role and significance of Boosey & Hawkes and its associated companies as musical instrument makers. Acquisition of new firms played an important part in business expansion, and particular focus is given here to the complex and lengthy incorporation of Besson & Co. into Boosey & Hawkes. The influence of Boosey & Hawkes extended far beyond Great Britain; in its heyday, besides providing wind instruments for the numerous civilian bands at home, the company supplied instruments to military regiments of the British armed forces, resulting in global distribution. Consequently the company became a symbol both of the British Empire and of British music. After the upheaval of the Second World War hand-crafting instruments gave way to mass production with many instruments made for educational purposes. Productivity increased, but quality-control declined, and it has been argued that the more successful new instruments were essentially the result of old-fashioned craftsmanship. These changing methods of manufacture are appraised here, and instrument design and innovation are examined and evaluated. During the 1960s and 1970s Boosey & Hawkes monopolised the market and the firm became one of the largest and most successful instrument manufacturing companies in the world. However, competition from companies abroad, mismanagement and bad workmanship caused the demise and eventual closure of Boosey & Hawkes instrument-making division in 2003.
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Books on the topic "Wind instrument and percussion music"

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Education, Alberta Alberta. Junior high instrumental music: Wind, percussion, strings. Edmonton: Alberta Education, 1988.

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MENC Task Force on Band Course of Study., ed. Teaching wind & percussion instruments: A course of study. Reston, VA: Music Educators National Conference, 1991.

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Jeff, King, and Logozzo Derrick, eds. The complete instrument reference guide for band directors. San Diego: Kjos, 2001.

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Handbuch der Blasmusik. Mainz: Schott, 1986.

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King, Jeff, and Richard Williams. Conductor Score. 4382 Jutland Dr., San Diego, CA 92117 USA: Neil A. Kjos Music Company, 1998.

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King, Jeff, and Richard Williams. Trumpet. 4382 Jutland Dr., San Diego, CA 92117 USA: Neil A. Kjos Music Company, 1997.

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Girsberger, Russ. Percussion assignments for band & wind ensemble. Galesville, MD: Meredith Music Publications, 2004.

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Schuman, William. Dances: Divertimento for wind quintet and percussion. Bryn Mawr, Pa: Merion Music, 1987.

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Gipson, Richard Carrell. An observational analysis of wind instrument private lessons. Ann Arbor, Mich: U.M.I., 1989.

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Kinder, Keith William. Best music for chorus & winds. Brooklyn, N.Y: Manhattan Beach Music, 2005.

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Book chapters on the topic "Wind instrument and percussion music"

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Conway, Colleen M., and Chad West. "Instrumental Music (Winds, Brass, Percussion)." In The Oxford Handbook of Qualitative Research in American Music Education. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199844272.013.021.

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Szabó, István. "Historical Aspects of Rhythm Notation and Rhythm Sequences." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/12.

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For percussionists, rhythm notation represents more than a mere temporal sequence of music; it also assists the selection and execution of the appropriate technique. This musical execution is often dependent on the percussion instrument, although it is safe to argue that the movement sequence when sounding an instrument is independent of its size and proportions. Starting from the first beats, it is as crucial to learn and master movement routines as it is to understand and feel the time between notes, since these together enable one to play out rhythm notation precisely and internalise the correct motor processes. Applying the adequate movement sequences during the learning process consciously could result in substantial self-control abilities, which can also be utilised during practice. In the past centuries, the style of percussionists’ performance has transformed substantially due to the evolution of instruments and mallets, as well as performers’ efforts towards faster tempos. In this study, a brief overview on the history of percussion instruments is followed by the presentation of the technical evolution and milestones of how snare drums and other drums are played. When practicing percussion instruments, we must bear in mind the vast contribution of percussionists from bygone centuries, who laid the foundations of modern-day techniques either in wars or for others’ entertainment. Keywords: tabor, snare drum, traditional grip, rudimental
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Williams, David A. "The iPad as a Musical Instrument!" In Creative Music Making at Your Fingertips, 83–97. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190078119.003.0007.

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When used to make music, the tablet device is a musical instrument and has several things in common with traditional wind and string instruments: It can be played well, making wonderful music, and it can be played poorly, producing sounds that are wanting in terms of musicality. First, and foremost, a tablet will make no sound until a human touches it. Second, practice is required to perform correctly on a tablet, and the performer must build technique. The tablet, like an oboe or violin, will do nothing musical until a human being interacts with it, develops technique through practice, and makes musical decisions using it. It is possible to use tablets in live performance by examining real-life examples by an iPad ensemble that model learner-centered pedagogical principles. Taking into account the social and musical aspects of the musicians, the chapter discusses possible approaches to rehearsals, what performances might involve, including collaborations with other artists, and breaking down the artificial fourth wall that too often is placed between musicians and audience.
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Davidson, Michael. "Missing Music." In Distressing Language, 133–56. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479813827.003.0007.

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Chapter 6 looks at avant garde music from John Cage and David Tudor to La Monte Young, Pauline Oliveros, and Alvin Lucier to theoretical work in musicology that has questioned the limits of a sound-based music. The chapter also discusses the Romantic trope of the aeolian lyre in Shelley and Coleridge who wrote several poems about hearing the music of nature played by the wind across the strings of a small stringed instrument placed in the casement window. Later variants of the aeolian lyre by Catherine Yass and others provide contemporary, site-specific installations to re-enact this phenomenon. The second half of the chapter studies the work of artist and film maker Alison O’Daniel, whose epic film series The Tuba Thieves represents some of these issues from the artist’s deaf and hard-of-hearing perspective.
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Bowman, Judith. "Applied Music." In The Music Professor Online, 85–111. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0005.

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This chapter describes issues related to teaching applied music online and presents experiences with online applied music instruction in narratives provided by professors engaged in this practice. It provides background on the challenges of online applied music teaching and the nature of applied music study, and it explains the signature pedagogy of applied music, a master–apprentice model. It reviews the state of the practice of online applied music instruction at various levels and asks how instructors might teach applied music effectively online. It features three professors who describe their online teaching experiences: applied piano using specialized equipment at various levels and in various contexts, wind instrument instruction via desktop videoconferencing, and iPad-based instrumental music instruction in a music education methods course. Each professor offers suggestions for prospective online teachers of applied music, and the chapter concludes with some lessons drawn from the field.
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"bianzhong bell chime bili a double-reed cylindrical instrument bo cymbals Chaozhou Xianshi String music in Chaozhou chiba vertical bamboo flute chui blowing, a category of folk classification for music instruments, meaning wind instruments Chuige Hui Society of wind songs da beating, a category of folk classification for music instruments, meaning percussion instruments Dadiao Qüzi a local singing narrative genre in Henan Province daqü large suite di bamboo flute erhu two-string bowed lute Erquan Yingyue Moonlight reflected on the water of Erquan Spring, an erhu piece played by Abing Fanglü Pasture donkey, a wind and percussion ensemble piece played in Chuige Hui in Hebei Province fengshou konghou arched harp Ge hide, a category of ancient classification for musical instruments gonche Chinese system of notation gu drum guan a double-reed cylindrical instrument, basically the same as the ancient bili Guangdong Yinyue Cantonese music, a genre of instrumental ensemble in Guangdong Province Guangling San Tune of Guangling, a qin piece Guchui yue drum and blowing music gudi bone flute haidi small suona (small conical oboe) hua painting, one category of the literati’s self-cultivation and entertainment hujiao horn Ji Kong Yuewu Worshiping music and dance to Confucius Jiangnan Sizhu String and wind ensemble in the south area of the Yangtze River Valley jianzi pu simplified character notation Jin metal, a category of ancient classification for musical instruments jinghu two-string bowed lute, like a small erhu but with its soundbox made of bamboo." In Tradition & Change Performance, 32. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-4.

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Fiala, Michele. "Pedro Díaz." In Great Oboists on Music and Musicianship, 32–39. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0004.

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Pedro Díaz is the solo English Horn of the Metropolitan Opera Orchestra. In this interview, he talks about his start in music, auditions, becoming an English horn player, musical phrasing, and breathing and support on a wind instrument. He also discusses the relationship of vocal to instrumental music, how to become a good ensemble player, his pedagogy, and highlights of his career.
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Chapman, Con. "Swee’ Pea." In Rabbit's Blues, 79–88. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0011.

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The chapter discusses the addition of Billy Strayhorn to the Ellington band at the end of 1938. Strayhorn gradually transformed its music with harmonic enhancements that he had mastered as a student of European classical music. He also began to write pieces that served as vehicles by which Hodges developed a romantic style to broaden his appeal beyond the hot jazz and blues of his early period. Ellington had learned his trade from East Coast stride pianists, who used the piano as a percussion instrument in the bass register. Strayhorn’s music showed the influence of Debussy and Ravel, romantics with a softer side that was well suited to Hodges’s warm tone. Strayhorn took control of the Ellington small-group sessions and became so closely associated with Hodges that the two formed a four-man group for a time that played apart from Ellington.
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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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Nakai, You. "Piano." In Reminded by the Instruments, 24–100. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.003.0002.

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Tudor switched from the organ to the piano in his late teens. His approach to the new instrument, whose nature he regarded as percussion, centered on harnessing its mechanism of escapement, which resulted in the control of all parameters as a function of precise timing of attack and release. This proved especially well-suited to the pointillistic works being written by composers on both sides of the Atlantic. But close examination reveals that the relationship between Tudor and the composers around him, which gave birth to new methods of chance operations, indeterminacy, or graphic scores, was actually led by the pianist’s exploration of his instrument, many times at the bewilderment of others as to what captivated his attention. At the core of Tudor’s singular realizations was a focus on the physical bias of the score given to him, which he referred to as “material.” As the degree of indeterminacy in the composer’s materials increased throughout the 1950s, Tudor would more and more shift his attention to another kind of material involved in the realization of music: the physical nature of instruments, including his own self, which composers had already begun regarding as such.
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Conference papers on the topic "Wind instrument and percussion music"

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

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Terashita, Naoyuki, Kyoichi Sugahara, and Yosuke Terashita. "Turning Your Wind Instrument into a Music Controller: Real-time Fingering Estimation by Classifying Reflected White Noise." In CHI '21: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3411763.3451719.

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