Percussion Research Papers - Academia.edu (original) (raw)

Excerpt from the book on the contemporary playing technique of percussion with special emphasis on mallets and other types of excitation.
The book also contains a series of essays written by renowned composers and performers such as Nicolaus A. Huber, Jan Williams, Steven Schick and Alberto Posadas (see "contents").
Additionally, a database with instructive videos is available on the website of the publisher (https://www.baerenreiter.com/shop/produkt/details/BVK2406/).
In collaboration with the percussionists Christian Dierstein and Jens Ruland. Part of the well-known Bärenreiter Series of Books on playing techniques.

- by
- •
- Percussion, Contemporary Music, Mauricio Kagel, Karlheinz Stockhausen

This performance-based study for the degree of Doctor of Philosophy at the Elder Conservatorium of Music, University of Adelaide challenges percussion concert conventions. It posits that thematically focused performances integrating all elements of concert presentation and execution and audience involvement can deepen the music experience. The hypothesis was tested by performing and videoing four styles of thematic concerts. The performances narrated a story in unaccompanied solos, elucidated an environment through chamber music, discussed a percussion ensemble presentation, and depicted life in accompanied solos. New and unusual compositions and techniques were introduced suggesting a new path for percussion performance.

- by Ryszard Pusz
- •
- Percussion, Drumming and Percussion
- by Louis Coupal
- •
- Obesity, Percussion, Humans, Ultrasonography

Music performance anxiety (MPA) is common among musicians, and varying levels of MPA inevitably occur in performances. The causes of MPA are difficult to define due to different factors in diverse musicians. Minimal research has been conducted on the causes of MPA and its effect on improvising subjects, specifically percussionists. The following dissertation draws together improvisation and MPA through an analysis of the causes of MPA in improvisational contexts. A proposition of six constraints (tradition, style, performer, instrument, environment and time) was devised by the author through research in existing literature on psychological constraints in improvisation. The ‘six constraints’ were analysed in improvisational contexts as possible causes of MPA. Research originated from personal observations in practice, rehearsals and performances, and was recorded in a reflective journal. Classical and jazz tertiary undergraduate percussionists were also surveyed, which calculated their MPA levels through the Kenny-Music Performance Anxiety Inventory (K-MPAI). A selection of six diverse percussionists (three jazz and three classical) were interviewed and compared to autoethnographic data. Findings suggested that three factors of personal background, perception of the six constraints, and MPA acknowledgement and management had positive and negative effects to MPA levels. These concepts correlated with cognitive processing, and therefore revealed that the musician’s perception affected MPA levels and not the effect of the improvisational context. Further research also found positive factors assisting MPA alleviation, including improvisation and identifying cognitive distortions. The project addresses the importance of MPA, health, and performance psychology in future artistic research to assist creativity and expression.

- by Anna Kho
- •
- Percussion, Classical Improvisation, Jazz Improvisation, Classical Music
- by Rebecca Lloyd-Jones
- •
- Percussion

In the game of Rugby, percussion is a fundamental play to break the line of defense of the opposing team and thus reach the goal and score points. However, this play is not always performed efficiently biomechanically speaking, which generates losses of the ball and disadvantage in the game. Therefore, we studied and evaluated the kinematic pattern of the technical and sports gesture of players of the Rugby team of the University of Santo Tom´as Seccional Tunja (Boyac´a - Colombia), through videometry, with the aim of determining (qualitatively and quantitatively) the trajectories, critical angles and articular kinematic curves of athletes performing percussion routines, with were designed and implemented corrective interventions of the movement of the athletes in the descent of the axis of contact, to generate a more efficient percussion and ergonomic during the game.

- by Visión Electrónica
- •
- Biomechanics, Percussion, Rugby, Sports

The lack of attention and concentration in the classroom is evidence accepted by most teachers. The purpose of this research is to quantify and verify that the BAPNE body percussion method is effective in increasing the selective attention of students in the 3rd grade of Primary Education. This project has been carried out with a group of n=67 children aged between eight and nine years divided into control and experimental groups and coming from two public centers in the Valencian town of Buñol (Spain). We have intervened with the experimental group for 25 weeks twice a week in fifty-minute sessions and applying a protocol of activities called Bodypercussion-Teaching Method. The control group did not carry out the BAPNE neuromotricity program and continued with the same routines without making any change in the development of its teaching programming. A basic quasi-experimental design has been used with measures before and after the application of the method and a mixed statistical analysis (inter-intra subjects) comparing the data obtained in pre-test and post-test between the control and experimental groups and between the students of the experimental group. The 4th edition of the Brickenkamp and Seisdedos "d2" concentration and selective attention test (2012) published by TEA editions were used to measure the attentional performance of students. The results obtained after data analysis revealed a statistically significant improvement in selective attention and concentration.

- by Francisco Javier Romero-Naranjo
- •
- Music Education, Percussion, Dance, Music and the Body

Resumo: O artigo visa apresentar e discutir aspectos do fingerstyle, conhecido como uma forma de tocar violão que reúne diversas possibilidades técnicas. Apesar de não ser nova, ainda é pouco explorada pelos violonistas, mas vem ganhando visibilidade e adeptos em diferentes lugares do mundo. Foi utilizado o método da revisão bibliográfica como forma de obter evidências e informações sobre o estado da arte do fingerstyle. Os dados obtidos na revisão permitem concluir que esta forma de tocar violão oferece possibilidades ilimitadas de sons e pode proporcionar liberdade criativa ao interprete, oferecendo ferramentas para a composição, criação de arranjos e improvisação, enriquecendo e inovando as performances violonísticas. Palavras-chave: Fingerstyle. Levantamento histórico. Técnicas de violão. Fingerpicking. Percussão. Abstract: The article aims to introduce and discuss aspects of fingerstyle, known as a way of playing guitar that brings several technical possibilities. Although not new, it is still little explored by guitarists, but has gained visibility and fans in different parts of the world. The method of bibliographical revision was used as a way to obtain evidence and information about the state of the art of the fingerstyle. The data obtained in the review allow us to conclude that this form of playing guitar offers unlimited possibilities of sounds and can provide creative freedom to the player, offering tools for composition, arrangement creation and improvisation, enriching and innovating the guitar performances. 1.Introdução O fingerstyle, em sua origem, não representa um estilo ou gênero musical e sim um modo de tocar violão utilizando distintas técnicas. Oriundo de gêneros como o country, jazz e blues, este modo se popularizou e hoje é encontrado na execução dos mais diversos gêneros musicais. A técnica de dedilhar as cordas veio do alaúde e da vihuela (século XV e XVI), antecessores do violão. A partir disto o "estilo dedilhado" ou fingerstyle teve seu desenvolvimento. É importante destacar que quando nos referimos à prática do violão de concerto, o mais usual é utilizarmos o termo "violão clássico/erudito" para defini-lo. O fingerstyle como conhecido hoje é proveniente do fingerpicking vindo dos Estados Unidos, que em teoria representa a mesma técnica. Essa nomenclatura

- by amanda carpenedo
- •
- Music, Percussion, Performance, Musica, Guitarra
- by Kevin Lewis
- •
- Percussion, Drumming and Percussion, John Cage, Percussion Ensemble

Esta investigación centra el uso de la percusión corporal a partir de los datos recogidos por viajeros, exploradores, misioneros y músicos desde el siglo XVII hasta la actualidad que nos describen su uso en diferentes culturas. Se parte de la hipótesis
del origen de la percusión corporal y su relación con el bipedismo para poder articular la coordinación de las extremidades inferiores frente a las superiores.

- by Francisco Javier Romero-Naranjo
- •
- Africa, Percussion, Ghana, Drumming and Percussion

A dissertation submitted in partial satisfaction of the requirements for the degree of

Bachelor of Music Performance (Honours) Course #734 School of Music, Victorian College of the Arts

1 November, 2006

- by Nat Grant
- •
- Percussion
- by Rebecca Lloyd-Jones
- •
- Percussion, Percussion Performance
- by Louise Devenish
- •
- Percussion, Contemporary Music, Australian Music, Australian Music History
- by Gregory Beyer
- •
- Music, Musicology, Percussion, Capoeira Angola

Analysis of The Anvil Chorus by David Lang

- by Tomm Roland
- •
- Music Theory, Composition (Music), Percussion, Drumming and Percussion

West Coast Group composers John Cage, Henry Cowell, and Lou Harrison wrote some of the earliest works for percussion ensemble. They were also all queer men, suggesting that there was a possibly a connection between their queer sexualities and their engagement with the percussion ensemble in the 1930s and early 1940s. Part I of this essay explores the relationship between queer sexuality and percussion by examining the various ways in which the composers’ queer lives intersected with the creation of the percussion ensemble. This discussion results in a deeper understanding of the queer sensibility that informed the development of the percussion ensemble, including interactions with modern dance, Asian influences, and collaborative working methods. An analysis of Cage and Harrison’s Double Music brings together the various discussions presented in relation to queerness and the percussion ensemble. In Part II, a detailed look at the influence modern dance exerted upon the West Coast percussion ensemble will further demonstrate one critical queer influence on early percussion works. An important musical device used in dance music was the ostinato; the use of the ostinato in early percussion ensemble repertoire reveals the ensemble’s codependence on early modern dance. Analysis of percussion works by Beyer, Cage, Cowell, Harrison, Humphrey, and Strang, will show how percussion developed alongside modern dance in four distinct stages; particular focus on usage of the ostinato will show how dance tangibly impacted the repertoire.
“Cage, Cowell, Harrison, and Queer Influences on the Percussion Ensemble, 1932 - 1943” by William Solomon, University of Hartford, Hartt School, Doctor of Musical Arts in Percussion Performance, 2016.

- by Bill Solomon
- •
- Music, Music History, Music Theory, Musicology

Sobre la exploración de los modos griegos en el Quimelod

- by Max Piluso
- •
- Music Theory, Musicology, Percussion, Música
- by Jeremy Sibson
- •
- Percussion, Orchestra, Timpani

Musical instruments are considered as sacred objects, as mediators between the worlds of gods and humans. This junction between music and speech is understandable if we consider that many languages (African and Asian) use designated pitches for specific syllables. On that basis, we may say that sound intervals carry meaning. In the various regions where these tonal languages are spoken, percussion instruments reproduce these fixed pitches to transmit coded messages. Today, they are seldom used as a means of communicating between villages, but their role in controlling dance remain as strong as ever.

- by Jagyaseni Chatterjee
- •
- Musicology, Indian Music, Percussion

El 20 de noviembre de 2012 dentro del marco del Festival de Otoño de París, en la Cité de la musique, el Ensemble intercontemporain, presentó Ionisation de Edgar Varèse, dirigida por Sussana Mälkki.
Siendo esta una de las más prestigiosas agrupaciones dedicadas a la interpretación de música contemporánea, la pregunta de si su interpretación se puede considerar o no como históricamente informada, podría ser considerada irrelevante. A fin de cuentas, la calidad y precisión de la interpretación son de primer orden. Entonces ¿sería pertinente hablar de una interpretación histórica considerando que Varése era un hombre que siempre miraba hacia el futuro? Si Varése hubiera tenido a su alcance todas las innovaciones que ocurrieron durante el siglo XX al momento de concebir Ionisation, ¿hubiera optado por la sección más “primitiva” de la orquesta para describir lo que algunos consideran como un reflejo de la fascinación del compositor por la vida urbana y la mecanización? ¿O hubiera recurrido a los timbres más vanguardistas hechos posibles por los avances tecnológicos? Quizás el mismo Varése, hubiera desdeñado la mera idea de una interpretación histórica de su obra en el siglo XXI y por el contrario hubiera aplaudido una versión actualizada, siendo que los instrumentos de percusión, su repertorio y sus técnicas interpretativas, tuvieron los mayores avances de su historia durante el siglo XX. Esta última hipótesis, no es el objeto de análisis de este texto, pero si el motivo mismo por el cual es de suma importancia hablar de una interpretación históricamente documentada en Ionisation, porque Varèse la concibió con lo recursos tímbricos, estéticos e interpretativos de los cuales disponía en el momento.

O tema desta dissertação é a autorregulação da aprendizagem instrumental à luz da teoria social cognitiva, de Albert Bandura. Esta abordagem destaca a capacidade de o aluno intervir de forma consciente, intencional e autorreflexiva no próprio desenvolvimento, participando ativamente do seu processo de aprendizagem. A fundamentação teórica proposta para esta investigação apoia-se na “Abordagem Multidimensional da Autorregulação da Aprendizagem” de Zimmerman e Risemberg, que descreve a autorregulação a partir de seis dimensões: (1) motivação, (2) método, (3) tempo, (4) desempenho, (5) ambiente físico e (6) influências sociais. O objetivo desta pesquisa foi investigar elementos da
autorregulação da aprendizagem na conduta de uma percussionista durante o aprendizado de uma
nova obra musical. O método adotado consistiu em um estudo de caso, tendo como unidade de análise
o processo de estudo de uma obra realizado por uma aluna de bacharelado em música (percussão).
Os resultados indicaram: (a) a incidência de aspectos motivacionais no processo de estudo investigado,
com destaque para as crenças de autoeficácia e as expectativas de resultado; (b) o emprego de uma
diversidade de estratégias de natureza cognitiva, metacognitiva e comportamental. Tais estratégias foram adotadas em detrimento a padronização de ações, atuaram associadas (complementando-se) e
foram variadas e aprimoradas a medida que o processo de estudo avançou; (c) a ocorrência de eventos
relativos ao “planejamento” (metas de aprendizagem e delineamento das atividades), “monitoramento” (experiências e conhecimentos metacognitivos; observação e interpretação dos desafios) e
“avaliação” da aprendizagem (atribuições causais e inferências – autoavaliativas e autorreativas); (d) o
impacto das variáveis ambientais, com destaque às influências físico-estruturais e sociais, enfatizando
a modelação social e os processos de atenção, retenção, reprodução e motivação. Espera-se que as
considerações aqui apresentadas favoreçam o aprimoramento de condutas que orientem a prática musical de instrumentistas em direção a um desenvolvimento musical consciente, reflexivo e autônomo.

The following work aims to study some technical and interpretative resources present in the performances of Cleber Almeida on the drums for the album Desinventado (2003) – Trio Curupira, focusing specifically on the processes used for the adaptations of Northern Brazilian rhythms, like maracatu de baque virado, caboclinho baião, xote e bumba-meu-boi, which are traditionally played by percussion instruments. The methodological process used in this work proposes a bibliographic, historical, and musical revision of the rhythms discussed, as well as drum adaptations published in dissertations/thesis and educational books. The objective is to understand the development of the instrument since its arrival in Brazil, regarding the way the rhythms were adapted. We find fit to mention drummers such as Luciano Perrone, Airto Moreira, Nenê (Realcino Lima Filho), musicians who had and still have a significant role in Brazilian drumming, especially in the instrumental music scenario, being referential musicians to different Brazilian drummer generations. Therefore, through transcriptions and analysis, we face the idiomaticity printed on the drums of Cleber Almeida with all of the collected material, aiming to find the peculiarities of the strategies used by the musician on the adaptation of these rhythms for the musical context of Trio Curupira.

- by Carlos Eduardo Sueitt Garanhão
- •
- Percussion, Brazilian Music, Musica Brasileira, Drums
- by Heather Baid
- •
- Nursing, Percussion, Nursing Process, Humans

La manifestación musical que rinde culto a San Benito de Palermo es una de las más complejas de la cultural afrovenezolana. A su notable riqueza sonora se suma una elaborada ritualidad colmada de simbolismos que representa un extraordinario ejemplo de patrimonio estético. Esta herencia, al ser reinterpretada por los cultores, integra al comportamiento social los valores que emanan de la tradición.
Aunque el presente trabajo se orienta principalmente a descifrar los contenidos musicales del chimbánguele, consideramos fundamental presentar el contexto socio-cultural y geográfico que da marco a la manifestación, como paso previo al abordaje del estudio musicológico.
Las transcripciones fueron realizadas a partir del material sonoro, recopilado en numerosos trabajos de campo. Entre los años 1997 y 2001, el autor realizó investigaciones en la zona, financiándose para ello con sus propios recursos; posteriormente, entre los años 2001 al 2004, viajó con el apoyo de la Fundación de Etnomusicología y Folklore-Fundef. Por otra parte, en el curso de la investigación y durante todo su proceso, se utilizaron y consultaron numerosas ediciones discográficas y bibliográficas establecidas por otros investigadores.
En este estudio se utiliza una nomenclatura que permite expresar las características tímbricas de los ritmos y las técnicas de ejecución.
En el capítulo relativo a los instrumentos, se explica en detalle las técnicas que producen los timbres definidos por estos signos. Quizá sea oportuno aclarar que las notas sobre la línea y debajo de ella no definen alturas, sino la mano que ejecuta el instrumento; es posible registrarlo de esta manera, dado a que cada percusionista ejecuta un solo membranófono en la batería de tambores y no se hace necesario definir alturas.
En los casos donde se realizan transcripciones de instrumentos como campanas, flautas o de la voz humana, la disposición de la escritura sí define las alturas tonales.
Es oportuno comunicar al lector que gran parte de estas transcripciones se encuentran reflejadas en el disco compacto encartado en esta publicación. Para ello, hemos decidido colocar al lado de la partitura, un número que permita agilizar la localización del fonograma correspondiente.
El autor realizó las transcripciones y después las ejecutó, confrontándolas a su vez con las grabaciones correspondientes para verificar su fidelidad. De esta forma, se pudieron vislumbrar aspectos fundamentales que de otro modo permanecerían ocultos, bajo la premisa de que para un adecuado desarrollo de la indagación musicológica, el investigador debe involucrarse en la manifestación que está estudiando, hasta el punto de convertirse él mismo en intérprete del género, pues de otro modo sólo obtendría una impresión superficial e incompleta de la manifestación, al no poderla percibir desde el interior mismo de su sonido y misterio.

- by Carlos Suárez
- •
- Cultural Heritage, Afro Latin America, Percussion, Etnomusicology

This paper investigates the influence of alla turca style in music by W.A. Mozart and F. J. Haydn in the 18th and early 19th centuries. It begins by tracing the origin of the style back to the Ottoman janissaries and their formation in 1329, discussing the first encounters between Europeans and janissaries, and following that influence into European classical music hundreds of years later. The paper will look at various musical examples, specifically examining orchestration, instrumentation and texture.The result is educational, striking impacts and surprising moments in some of the best-loved works in western classical music.

- by Wing In Crystal Chu-Sharp
- •
- European Studies, Ottoman History, Percussion, Ottoman Studies

Over the past forty-five years, contemporary percussion has taken up an increasingly prominent role in Australian music performance and composition. Since it first emerged in Australia in the early 1970s, a relatively rapid period of development has seen percussion become established as a stylistically diverse and continually evolving discipline. Percussion music, once existing at the fringes of Australian contemporary music, now occupies a place at the forefront of Australian contemporary music activity. Very limited research into this percussion activity has been undertaken during this time, thus this study fills a gap in Australian musical history by exploring how and why percussion activity emerged during the 1970s. The historical contexts that encouraged the formation of professional percussion ensembles will be the focus of this thesis, with an emphasis on significant performers, percussion ensembles, educators and events in the field that affected change. Documentation of the activities of a number of professional percussion ensembles active in Australia between 1970 and 2000, including the Australian Percussion Ensemble, Synergy Percussion, Adelaide Percussions and Nova Ensemble, is supported with repertoire lists of Australian commissions for these ensembles. The thesis concludes with an examination of various influences present in Australian contemporary percussion music. It is hoped that this study will go some way towards an understanding of the genre’s origin and identity in Australia and will consequently inform the platform from which new Australian contemporary percussion work is created.
Full thesis available at:
http://research-repository.uwa.edu.au/en/publications/and-now-for-the-noise-contemporary-percussion-in-australia-19702000%28bfcc8c85-23e9-4d60-8b19-7f2027c3c4f1%29/export.html

- by Louise Devenish
- •
- Percussion, Australian Music History

- by Carlos Suárez
- •
- Cultural Studies, Cultural Heritage, Afro Latin America, Percussion

Esta dissertação consiste na investigação dos processos metodológicos de ensino coletivo de bateria e percussão de um professor do curso de Bacharelado em Música. O trabalho identifica e descreve tais processos, analisando as concepções de ensino de música do professor participante. Esta pesquisa foi elaborada a partir da abordagem qualitativa, empregando-se o estudo de caso como método e observação participativa, entrevistas, notas de campo e gravações em vídeo das aulas, como técnicas de coleta de dados. As observações ocorreram durante um semestre letivo nas aulas das disciplinas de Instrumento Principal e de Grupos Musicais referentes ao primeiro, terceiro e quinto período do curso. As entrevistas foram de dois tipos: não-estruturada, através da retro-informação do vídeo (LOIZOS, 2007) para análise do professor; e semi-estruturada, oportunizando um diálogo entre os pontos destacados na observação. A revisão de literatura abordou textos que se reportam ao ensino coletivo de instrumentos, sendo usada na análise dos dados. Os resultados das análises apontam que o professor do caso investigado, através de um ambiente calmo e pessoal, combina aulas individuais e coletivas, usa o repertório como fio condutor das atividades, usa os recursos disponíveis (salas, instrumentos e tecnologias) e processa o seu ensino em grupo instrumental, pautando-se em uma relação de ensino e aprendizagem dialogada. Da mesma forma, facilita e media os processos de ensino e aprendizagem com os alunos, de forma a construir os conhecimentos musicais através da criação, audição e execução. Usa o Grupo de Percussão como estratégia metodológica. Foi possível constatar, também, apesar de o professor explanar suas práticas, que suas falas não revelam uma teoria subjetiva própria conforme abordam os estudos do pensamento do professor.

- by Henry De Souza
- •
- Music Education, Percussion, Drumset; Percussion;, Educação Musical
- by Burak Usta
- •
- Percussion, Turkish music, Ottoman Music, Turkish makam maqam classical music

Nel mio percorso artistico-musicale, se pur breve rispetto a tanti altri miei colleghi, ho avuto la fortuna di subire, ricevere ed assorbire le più svariate influenze musicali varianti a seconda degli incontri fatti e dei luoghi frequentati. Lungo il mio percorso formativo, certamente non terminato e lungi da me dal considerarlo fatto per tutto il resto della mia vita, ho avuto a che fare con i più svariati ambienti musicali: da quello prettamente accademico, dove ho avuto la possibilità di conoscere e apprezzare ciò che viene definito musica colta o classica, a quello del mainstream urbano musicale, dove ho potuto allargare i miei orizzonti verso i più svariati generi della musica moderna. Assorbendo ed apprezzando questi due grandi mondi, apparentemente lontani fra loro, il mio sguardo si è improvvisamente arrestato su qualcosa che stava fuori dagli schemi, qualcosa che produceva in me sensazioni varianti tra il dubbio e la curiosità, l’incredulità e la sorpresa. Il mondo etichettato come musica contemporanea mi si era appena aperto davanti dandomi la possibilità di gettarmici dentro e riuscendo a capire subito che, nonostante la sua giovanissima età (circa un secolo di vita), era qualcosa di mastodontico.
In questa mia ricerca ho voluto analizzare solo una corrente culturale, probabilmente la più mistica, della musica contemporanea: il Minimalismo. Partendo dalla nascita e l’evoluzione di essa in vari campi artistici sono giunto alla specifica analisi di un compositore che ha segnato un enorme solco nella storia di questa corrente in campo musicale: Steve Reich.
Leggendo e studiando le analisi del Maestro Enzo Restagno, saggi e note dello stesso compositore, ho cercato di costruire un intreccio fra la biografia e le opere compositive di Steve Reich esponendo infine il pensiero estetico dello stesso.

- by Andrea Sorrenti
- •
- Music, Percussion, Minimalism, The music of Steve Reich

JULIUSEDIMUS , CATÁLOGO COMPLETO DE LA OBRA MUSICAL, 2024 INCLUYE NUEVA LISTA DE LAS OBRAS, FRAGMENTOS DE PARTITURAS, FOTOGRAFÍAS, BREVE CV, BIBLIOGRAFÍA SELECTA, ETCÉTERA. CON ADICIÓN DE PORTADA DEL LIBRO "JULIO ESTRADA. MEMORIES AND... more

- by julio estrada
- •
- Musical Composition, Percussion, Electroacoustic Music, Music for children

The composition, assembly, execution and listening of a work for snare drum solo, are tasks that are not easy at all; due to the nature of the instrument and its apparent lack of technical, sound and expressive possibilities, composers of the last centuries have created, from the traditional interpretive resources developed through the centuries (as called rudiments), a new language that expands the horizons of normal execution until they become virtually infinite, resulting in a number of new resources that are unconventional forms of execution. The diversity of these resources is very wide and each composer has his particular way of writing, each according to their creativity, composition technique, aesthetic perception, inspiration and capacity for experimentation. Musical limitations that could be labeled the snare drum at first, fade to study in depth six pieces of great composers of the twentieth and twenty-first centuries, where the huge number of techniques, sound and expressive possibilities of the instrument are exposed.

- by Ulises Hernandez
- •
- Percussion, Contemporary Music, Drums, Snare Drum

The percussive approach is a method for analyzing the meaning behind sound and dance in hip-hop music. Percussion, especially the drum, and percussiveness have been and still are significant parts of music-making and social organization throughout the African diaspora. Based on cultural theorist and percussionist John Mowitt’s percussive field, the percussive approach examines not only the musical side of percussion, but also the social, psychological and theological aspects of percussiveness. The percussive approach is divided into three sections: percussiveness in music and language, social percussiveness and percussiveness as a symbolic form of resistance. By drawing from the perspectives of the African diaspora and the spiritual system of shamanism, as well as from the texts of cultural theorists like John Mowitt, James W. Perkinson, Jon Spencer and Tricia Rose, this paper will explore the cultural significance behind the percussive practices in early hip-hop music.

- by Sherese Francis
- •
- History, Cultural Studies, Music History, Media Studies
- by benjamin charles
- •
- Psychology, Music Education, Percussion, Curriculum

This paper will explore conceptual approaches to participatory music-making, with a focus on the work of John Cage. Cage relied primarily on a performer-audience model of music-making; which seems paradoxical, as a non-hierarchical participatory model seems more in line with his philosophy. While his compositional methods appeared to indicate a desire for self-effacement and collaboration, the resultant works were often quite far from models of non-hierarchical co-creation. However, Cage was a composer who concerned himself primarily with illuminating concepts and demonstrating processes, rather than producing beautiful 'objects' and musical commodities. Embracing a community-based experimental model of participation involves departing from traditional Western art music paradigms that regard 'sound' primarily as a consumable 'product' and the individual composer as all-knowing, all-powerful and central to any experience of music. This movement from self-aggrandisement to self-effacement; from hierarchy to acceptance of difference; from occupation of territory to nomadic adventure; from cliches and 'norms' to the 'novel' and 'unprecedented', challenges the stature of the 'professional', within the tripartite musical system of composer, performer and listener. Rather than the solitary composer focusing on the creation of a 'fixed' text containing written instructions for its sonic actualisation, musical composition can be centred around the designing of events that encourage social cooperation. These events would be, ideally, non-hierarchical and participant-self-determining but most importantly, always in motion and a state of flux.

- by Sharon Williams
- •
- Music, Musical Composition, Participatory Design, Rhythm

Este artigo pretende apresentar um levantamento dos trabalhos em pós-graduação sobre o instrumento Bateria no Brasil. Este levantamento faz parte da revisão de literatura de um projeto de pesquisa de mestrado em andamento cuja temática é a área de Educação Musical, tendo a aula de Bateria como foco. Consta, também, a metodologia do levantamento bibliográfico e um histórico desse instrumento. Este estudo apresentou, preliminarmente, que a produção acadêmica na área e a produção de materiais didáticos para bateria no Brasil estão em crescimento.

- by Henry De Souza
- •
- Music Education, Percussion, Drumming and Percussion, Drumset; Percussion;