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Littérature scientifique sur le sujet « Percussion ensembles Music »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 1 février 2022

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Articles de revues sur le sujet "Percussion ensembles Music"

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Morris, J. David, et Keith P. Thompson. « A Different Drum : Percussion Ensembles in General Music ». Music Educators Journal 76, no 1 (septembre 1989) : 30–34. http://dx.doi.org/10.2307/3400896.

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

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AbstractThe endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the respective groups, professors Marian Vaida and Bedo Gabor, both perfected within the percussion class of the Conservatory of Music “George Enescu” in Iasi Romania, founded and led for more than half a century by the renowned professor Florian Simion. Two totally different interpretations of David Mancini’s work - Suite for solo drums and percussion ensemble, each with a few moments of success, but also with the need to perfect many elements of technique and interpretive design.
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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 (20 janvier 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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Ray, Daniel E. « Military Bands and Government Documents ». DttP : Documents to the People 44, no 4 (31 janvier 2017) : 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.

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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars and Stripes Forever” is considered our national march. Today, the US Army declares itself “the oldest and largest employer of musicians in the world.”
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Kang, Sangmi, et Hyesoo Yoo. « American preservice elementary teachers’ self-reported learning outcomes from participating in Korean percussion lessons in a music-methods course ». Research Studies in Music Education 41, no 3 (10 janvier 2019) : 327–42. http://dx.doi.org/10.1177/1321103x18806084.

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The purpose of this study was to examine American preservice classroom teachers’ self-reported learning outcomes after partaking in a weekly Korean percussion ensemble in an elementary music-methods course. The preservice classroom teachers rehearsed a Korean percussion ensemble piece ( Samulnori) as their course routine for half of the semester. Participants’ open-ended essays and semi-structured interviews were analyzed to determine their learning outcomes. Based on Abril’s (2006) three world music learning outcome categories (musical, cultural, and other) as initial codes, the emergent coding process was adopted. Through the data analysis, four themes emerged that illustrated preservice classroom teachers’ learning outcomes: (a) Cultural Awareness: Difference, (b) Music Fundamentals: Overlap with Traditional Course Content, (c) Bonding Experience: Community, and (d) Teacher Education: A Well-Rounded Teacher. Based on the results, possible implications for teaching culturally diverse musics to preservice classroom teachers in music-methods courses were discussed.
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Rakochi, Vadym. « Traditional and innovative in the orchestration of Ivan Karabyts‘ third concerto for orchestra «Lamantation» ». Ukrainian musicology 46 (27 octobre 2020) : 86–98. http://dx.doi.org/10.31318/0130-5298.2020.46.234602.

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The orchestration of Karabyts’ Third Concerto for Orchestra “Holosinnia” (“Lamentations”) has been studied. The relevance of the study. Despite a number of research works on Karabits’ Third Concerto its orchestration remains little studied yet. Therefore, the main objective of the paper is to examine orchestration of the Third Concerto for orchestra and to research the interaction between ‘traditional’ and ‘innovative’ traits in Concerto’s orchestration. The methods of the research. The score analysis lies in the core of the paper but historical, comparative, and semiotic methods of analysis have been applied as well. Attention is focused on the combination of traditional and innovative origins which paved the way for the composer to rethink the methods of presentation in the orchestra. Thus, these transformations reflect the original (author’s) approach to the genre. It was emphasized that Karabyts interprets the synthetical character inherent to the concerto for orchestra genre particularly wide. It is emphasized that this approach allows the composer to identify a palette of genres of instrumental music: for one performer, different combinations of chamber ensembles, concerto grosso and solo instrumental concerto. In particular, the opposition between two groups was strengthened not only due to unequal quantity of performers in each of them (concerto grosso), but also by relying on the different nature of the material or the use of bells or tube, quite rare in this role, to solo (solo concerto). The combination of traditional and innovative is reflected in the composition of the orchestra (paired with a large percussion group) and the approach to percussion instruments (endowing them with melodic, semantic, formative and other functions). It is emphasized that Karabyts repeatedly applies “percussion-like" interpretation in relation to other instruments. Such an approach results in a qualitative transformation of the instruments: the inherent warmth of a string timbre decreases; the singularity of each wind color neutral-lizes. Complications of semantics at each rhythmic, intonation, and timbre ostinato formulas are revealed. The introduction of a particular (author’s) approach to the baroque tradition of combining the functions of a soloist and a capellmeister, the manifestation of which is the solo of bells perso-nally made by Karabyts, has been noticed. The conclusions state that the Concerto’s orchestration plays important role in dialectically combination of “objective” and traditional (the passage of time, the history of the people, destiny) with “subjective” and individual (the author’s attitude to events and their rethinking). Such an approach is typical for the twentieth-century musical art. The significance of the research is that it reveals the importance of orchestration as a means of expression and thus brings better understanding of the functional potential of orchestration within the frame of the twentieth-century art tendencies.
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Harper, Adam. « Metal Wood Skin : The Colin Currie Percussion Festival, Southbank Centre, London ». Tempo 69, no 272 (avril 2015) : 69–72. http://dx.doi.org/10.1017/s0040298214001119.

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‘THE PERCUSSION UNIVERSE OF AXEL BORUP-JØRGENSEN’: Solo; Music for percussion + viola; La Primavera; Periphrasis; Winter Music. Gert Mortensen (perc.), Percurama Percussion Ensemble, Tim Frederiksen (vla), Duo Crossfire, Michala Petri (rec.), DNSO Brass Quintet. OUR Recordings
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MILLER, LETA E. « Henry Cowell and John Cage : Intersections and Influences, 1933–1941 ». Journal of the American Musicological Society 59, no 1 (2006) : 47–112. http://dx.doi.org/10.1525/jams.2006.59.1.47.

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Abstract This article explores, through examination of correspondence and other primary sources, the close interaction between Henry Cowell and John Cage from 1933 to 1941 in the areas of percussion music, dance, world musics, the prepared piano, electronic sounds, micro-macrocosmic forms, sliding tones, and elastic composition. Several works are examined in detail, among them Cowell's Pulse (which anticipated Cage's micro-macrocosmic forms in the Constructions) and Cage's Imaginary Landscape No. 1 (whose electronic slides addressed Cowell's prediction that the “future of music” lay in the perfection of percussion and sliding tones). A previously unavailable recording of Imaginary Landscape No. 1 by Cage's ensemble reveals an unexpected interpretation of the score. Appendices present a chronology of events, a 1937 letter from Cowell to Cage, and a little-known set of Cage's program notes from 1940.
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Howard, Karen. « Performing Rhythms of the Brazilian Bateria ». General Music Today 33, no 1 (24 août 2019) : 52–56. http://dx.doi.org/10.1177/1048371319867426.

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Bateria (bah-teh-REE-ah) means drum set in Portuguese. In terms of Brazilian samba music, the bateria is the percussion ensemble driving the groove of the whole samba band. Organizing a batucada (bah-tooKAH-dah), a Brazilian percussion jam session, is possible in general music classes throughout elementary and secondary school. The necessary instruments are easily available through percussion and educator websites. In addition, quality online tutorials are easily accessible.
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Ardedi, Dodo Pratama, et Wimbrayardi Wimbrayardi. « ANSAMBLE PERKUSI (KOMPOSISI MUSIK SMK NEGERI 3 PADANG) ». Jurnal Sendratasik 8, no 1 (1 juillet 2019) : 25. http://dx.doi.org/10.24036/jsu.v8i1.106415.

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Abstract This work aims to display the creativity of female students in school, and it can be a reference for teachers in developing talents, interests and creativities of female students. The form of this artwork is percussion ensemble, the author will combine the rhythmic patterns of single stroke, double stokes, and triols in 4/4 hours with a simple form. It does not only focus on the instrument itself, the author will also combine with vowels to build atmosphere. Percussion ensemble is a musical composition that is adopted from the game of similar percussion instrument, such execution is very interesting because there is no melody instrument here. the incorporation of the rhythmic pattern of single stroke percussion instrument, dooble stokes, and triols can show a rhythm by exploring it into the percussion instruments used. Percussion ensemble is played by six players that consist of two tambua players, one snare drum player, one floor drum player, one cymbal and cowbell player, one bongo player and one of triangel player. Keywords: Ansamble Perkusi
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Thèses sur le sujet "Percussion ensembles Music"

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Craycraft, Jeremy L. « William Russell's Percussion Ensemble Music, 1931-1940 ». University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305820085.

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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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Budón, Osvaldo 1965. « Territorios : for percussion ensemble and digital sounds on tape ». Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23969.

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Territorios is a 15-minute composition for eight percussionists and prerecorded sounds on digital tape. The composer chose this particular instrumentation because of his conviction that percussion and electronic/digital instruments are the most powerful sources of fresh and innovative sound matter that have appeared during this century. This choice also allowed him to challenge the development of a new and consistent rhythmic syntax derived from the internal structure of percussion instruments, which in turn made it possible to establish solid ties between the sound itself and the musical syntax that rules its organization.
Since different tempi are often used simultaneously in Territorios, the performance of the piece requires a set of computer-generated click-tracks carrying individual pulse lines; hearing these pulses through headphones, the performers are able to play the piece in precise tempo.
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Broad, Elaine H. « Ee ». Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/725081.

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Ee is a single movement composition for eight sopranos (who also play handbells), a percussion ensemble consisting of eight players, and piano. The work is organized into two sections, the first of which presents the basic material and explores the possibilities it suggests. The second represents a disintegration of the material, eventual synthesis, and assertion of the original material. The piece is conceived as a minimalist composition in which the musical energy and momentum is created not through development, but rather through devices of additive layering of ostinato patterns. The piece intentionally juxtaposes a conservative harmonic vocabulary with a non-traditional orchestration (voices, handbells, and percussion).
School of Music
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Andreatta, Drew David. « Three Lou Harrison Percussion Ensembles Arranged for A Solo Percussionist ». Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293612.

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This document details the creation of a new type of multiple percussion solo from pre-composed percussion ensembles. The author transcribes three works for percussion ensemble by Lou Harrison (1917-2003): Suite for Percussion, movement I, Bomba and Simfony #13 so that they can be performed as percussion solos. Each composition requires a different type of solo version because of the diverse instruments and musical materials in the original scores. Learning to perform these new versions will expand the technical capabilities of a soloist and offers complex challenges not found in the original ensembles. The document includes complete scores and set-ups for each new solo version and discussion of performance practice and techniques to play each work. Although Harrison’s original works were conceived for amateur players, the solo versions require the skills of a virtuoso performer. The new versions confirm the artistic merit of Harrison’s work in a format both practical and satisfying to the solo percussionist. The project illustrates new methods for further developing percussion technique to enable ensemble works to be performed by soloists. The solo versions of Lou Harrison percussion ensembles presented herein result in new repertoire for the percussion soloist.
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Dalton, Grant Beckett. « Nigel Westlake's Omphalo Centric Lecture guide for performance including a biography of the composer and an examination of the different versions of the work / ». Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155572878.

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Nelly, Thomas F. « I. Research-based rubrics for assessing undergraduate music compositions a validity study. II. Identity crisis : a composition for wind ensemble, percussion, electric organ, and electric bass / ». [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013772.

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Johnson, Allison Adah Johnson Allison Adah Johnson Allison Adah Johnson Allison Adah. « Transmission/translation/transgression / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099912.

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Thesis (Ph. D.)--University of California, San Diego, 2003.
Vita. "Three related compositions written for string quartet, small ensemble (soprano, violin, viola, cello, flute, clarinet, piano) and percussion duo"--P. viii; 3rd work an open form composition. Also available on the World Wide Web. (Access restricted to UC campuses).
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Hall, Alec Hall Alec Hall Alec Hall Alec. « Three pieces ». Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464967.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 11, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.
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Hall, John Richard. « Development of the percussion ensemble through the contributions of the Latin American composers Amadeo Roldán, José Ardévol, Carlos Chávez, and Alberto Ginastera ». Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211553990.

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Livres sur le sujet "Percussion ensembles Music"

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Cage, John. Double music. New York, N.Y : New World Records, 1985.

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Siwe, Thomas. Percussion ensemble literature. Champaign, Ill : Media Press, 1998.

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Cage, John. Six : For percussion. New York, NY : Henmar Press, 1991.

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

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Tull, Fisher. Quodlibet : For brass and percussion. [New York?] : Boosey & Hawkes, 1990.

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Campbell, Patricia Shehan, et Guohuang Han. The lion's roar : Chinese luogu percussion ensembles. 2e éd. Danbury, CT : World Music Press, 1996.

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Han, Guohuang. The lion's roar : Chinese luogu percussion ensembles. 2e éd. Danbury, CT : World Music Press, 1996.

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Jessup, Lynne. All hands on ! : An introduction to West African percussion ensembles. Danbury, Conn : World Music Press, 1997.

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Cage, John. Three2 : For three percussionists. New York, NY : Henmar Press, 1991.

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Cage, John. Four4. New York, NY : Henmar Press, 1991.

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Chapitres de livres sur le sujet "Percussion ensembles Music"

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« Music of the percussion ensembles ». Dans The Music of Malaysia, 159–236. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series : SOAS musicology | “First edition published by Ashgate 2004.” : Routledge, 2017. http://dx.doi.org/10.4324/9781315223025-4.

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« Recording Woodwinds, Brass, and Percussion ». Dans Recording Orchestra and Other Classical Music Ensembles, 105–14. New York ; London : Routledge, 2016. : Routledge, 2016. http://dx.doi.org/10.4324/9781315721040-16.

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Clendinning, Elizabeth A. « Bimusicality and Beyond ». Dans American Gamelan and the Ethnomusicological Imagination, 154–78. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0008.

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The chapter examines roles for gamelan in music pedagogy outside ethnomusicology. First, the pedagogical benefits of teaching gamelan are compared to those of teaching African drum ensembles and steel pan, two other non-Western classical percussion traditions that are commonly taught in American colleges. Then, the benefits of teaching gamelan within percussion education, composition, and music education programs are considered as teachers who employ gamelan in their classroom discuss how they use the instruments. Pedagogical benefits for students include improving motor coordination, physical technique, focus, and cognition; improving their listening skills; and expanding their concepts of artistic collaboration or group social skills, in addition to instilling real possibilities for cross-cultural professional artistic collaboration.
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Clendinning, Elizabeth A. « Interlocking Sounds, Interlocking Communities ». Dans American Gamelan and the Ethnomusicological Imagination, 1–22. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0001.

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The chapter introduces Indonesian gamelan (percussion orchestra) and the roles that it has played in college world music education in North America and in the discipline of ethnomusicology. The chapter presents a musical overview of gamelan and its original cultural contexts in Indonesia, including religious ceremonies, tourist audiences, and local entertainment. Then it introduces new contexts that gamelan has come to occupy in North America, including performances on concert stages, at outdoor festivals, in prisons, and, most pertinent to this book, in collegiate music halls. Finally, the chapter introduces the premise of the volume—a biography-based examination of the way academic world music ensembles impact local and transnational educational and musical communities—and the book’s primary goal: that of suggesting ways to construct more sustainable academic music communities.
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Siwe, Thomas. « An Emerging Literature for Percussion Ensemble ». Dans Artful Noise, 26–41. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0003.

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In the 1920s, a number of composers prophesied through their writings and their compositions how the music of the twentieth century would sound. Alexander Tcherepnin, Dimitri Shostakovich, George Antheil, and others contributed to the concept that percussion alone could be an instrumental force. This chapter examines in detail works by the French/American composer Edgard Varèse, so-called “father of percussion ensemble music,” including an analysis of his iconic composition for thirteen percussion players, Ionisation. Works by the composers Amadeo Roldán and José Ardévol draw on the Afro-Cuban rhythms of the Caribbean to create a new music, both classical and ethnic. Their compositions, along with those of the Mexican composer Carlos Chávez, served as paradigms for the music that followed.
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Siwe, Thomas. « Serialism ». Dans Artful Noise, 82–96. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0006.

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In the 1950s and 1960s, many composers, influenced by Arnold Schoenberg and Anton Webern, embraced serial compositional techniques. Tonal music became atonal and composers, such as Pierre Boulez from France and the German composer, Karlheinz Stockhausen, championed this new compositional approach. This chapter defines serialism and how composers applied it to works for percussion instruments. Music examples include Stockhausen’s solo work, Zyklus, with its totally original notational system, and a setting of an E. E. Cummings poem, Circles, by the Italian composer Luciano Berio. American composer Charles Wuorinen’s use of Milton Babbitt’s “time point” system in both his solo work Janissary Music and his forty-five-minute Percussion Symphony is presented, as is the work of Argentine composer Alberto Ginastera, who contributed to the literature one of the twentieth century’s largest percussion works, Cantata para América Mágica, for dramatic soprano and fifty-three percussion instruments. A discussion of percussion solo and ensemble works by the Greek composer, architect, and mathematician Iannis Xenakis completes the chapter.
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Siwe, Thomas. « Electronic Music ». Dans Artful Noise, 107–17. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0008.

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With the end of World War II came the rebirth of European radio. Government stations in both France and Germany established experimental studios for research, from which arose a new kind of music, “electronic music.” The station in France, Office de Radiodiffusion Télevision Française (ORTF), was directed by the engineer/composer Pierre Schaeffer and his partner, Pierre Henry, who called their musical creations musique concrète. In Germany the Westdeutscher Rundfunk (WDR) studio produced music through the process of “synthesis.” This chapter will explain the difference between the two approaches used to create electronic music with examples from the percussion solo and ensemble repertoire. Early experiments using wire recorders, test records, and tape recorders by composers Halim El-Dabh, John Cage, and Edgard Varèse precede the major electronic works of Karlheinz Stockhausen, Mario Davidovsky, and the American composer Stephen Everett, whose use of computers in “real time” brings the reader into the next century.
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Siwe, Thomas. « Post World War II—America Rising ». Dans Artful Noise, 64–81. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0005.

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Following World War II, thousands of returning servicemen and women enrolled in American colleges and universities with the financial assistance of the GI Bill. Colleges acted in response to the needs of these older students by offering career-oriented courses and by hiring new faculty to teach them. Music departments began hiring full-time percussion teachers and graduating classes of educated and skilled percussionists. Contemporary composers found these new graduates willing to play their works and responded by dramatically increasing the number of works written for percussion, both solo and ensemble. In the United States, Michael Colgrass, Alan Hovhaness, Henry Brant, and William Kraft created a variety of works ranging from chamber music to solos and even a symphony for percussion. As Europe and Asia recovered from the war, the arts there began a process of rebirth. In the late 1950s and 1960s, French composers André Jolivet, Marius Constant, and Maurice Ohana added a number of percussion works for the concert hall as well as for the dance. The years following World War II and the decades that immediately followed saw a resurgence of musical creativity and the schooled percussionist became sought after as both performer and teacher.
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Siwe, Thomas. « Sonorism ». Dans Artful Noise, 136–45. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0010.

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In this chapter, the use by twentieth-century composers of tone color, or timbre is explained with examples by those who made its use central to their compositional output. Poland, freed from the bonds of communism and the Soviet state, relaxed controls over the arts and in 1956 initiated the Warsaw Autumn festival where avant-garde Polish and Western music could be heard. Kazimierz Serocki cofounded the festival, contributing to the percussion canon his timbre-based sextet, Continuum. In the United States, the American composer George Crumb definitely had an ear for timbre coupled with a love for percussion evident in the works discussed. A young Polish/American composer, Marta Ptaszynska, created a number of works for both solo and ensemble percussion in the latter half of the century. Her work Siderals was conceived as an audio-visual, or mixed-media work utilizing ten percussionists, magnetic tape playback, and lighting. The three composers highlighted in this chapter approached the use of timbre in differing ways.
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Tenzer, Michael. « That’s All It Does ». Dans Rethinking Reich, 303–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190605285.003.0014.

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Though integral to his formation as a composer, Steve Reich’s studies of Balinese gamelan have been overlooked. In part this is because of a certain redundancy: features of Balinese overlap significantly with the West African music whose impact on Reich’s formative works of the 1970s has been amply demonstrated. These include predominance of percussion, repetitive cyclic structures, interlocking rhythms, systems of oral transmission, and the nonprofessional ethos of the performing ensemble’s interactive behaviors. But what of the features of the Balinese music Reich studied and did not assimilate? Among these are malleable tempo, extended and minimally repetitive cycles, and tonally hierarchic melodies rooted in Southeast Asian traditions of sung poetry. Their eschewal opens pathways for insight into Reich’s music, as well as his cultural subjectivity, in the process illuminating unsuspected aesthetic affinity between his detractors among “uptown” composition apologists of the time and traditional Balinese musicians.
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Actes de conférences sur le sujet "Percussion ensembles Music"

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Kersalé, Patrick. « At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language” ». Dans GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the structure of Khmer melodic percussion orchestras. The analysis of some graphic details, related to other frescoes and bas-reliefs of Angkor Wat, also makes it possible to propose a dating. The study embodies one of an anthropological ethnomusicology, while also incorporating a discourse analysis, so to frame the uncovering of new historiographers of music and instrumentation, so to re describe musical discourses, more so to shed new light on melodic percussion of Angkorian music.
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