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

Master of Music / Department of Music / Kurt Gartner / This is a report for anyone playing or teaching any one of the following pieces: Concerto for Vibraphone and Orchestra by Ney Rosauro, Surface Tension by Dave Hollinden, Urban Sketches for Percussion Trio by Lon W. Chaffin, Take Five by Paul Desmond, or DT Supreme by Austin Barnes. The repertoire is analyzed by the method given in Jan Larue’s book Guidelines for Style and Analysis. The report includes interpretive decisions, technical considerations, harmonic analysis, and form.

Thesis (M.Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: Sound sample libraries represent the format in which huge collections of sampled sounds are made available for use within digital samplers and/or other digital audio workstations (DAW’s). Although in use for many years, little or no academic research has been done on the methodology of compiling a commercial sound sample library. In this endeavour, the factors influencing the design, recording and publishing of a sound sample library are investigated through the actual design of a drum sample library. The rationale behind the sampling of a drum kit is carefully depicted in the light of various other factors influencing the instrument, as well as being influenced by the instrument itself. A professional drummer was engaged to play a state-of-the art Gretsch acoustic drum kit. Samples of the kit, consisting of various individual instrument parts, were recorded in three locations within the Konservatorium of Stellenbosch University, for reasons carefully explained in the text. These numerous drum hits were mixed and cut into individual drum samples. The samples were mapped into a digital software sampler, GigaStudio, creating five distinct collections of drum samples that faithfully represent the quality of the drum kit, the recording rooms as well as the equipment used in the process. The outcome of the study is a professional product in the form of a Gretsch drum sample collection, prepared for commercial release. Many of the drum samples have already been used successfully in commercial music releases over the past 12 months. Whilst the drum sample library is currently being published, the product and documentation clearly depict the viability of the study in terms of the artistic and academic expectations that have been met. The study anticipates future research on the subject. / AFRIKAANSE OPSOMMING: Klankbiblioteke heet die formaat waarin versamelings van klankmonsters beskikbaar gestel word vir gebruik in digitale samplers1 en/of ander digitale klankprogrammatuur. Nieteenstaande die feit dat klankbiblioteke reeds jare in gebruik is, is geen studie waarin die ontwerp en saamstel van so ‘n biblioteek beskryf word, bekend nie. In hierdie navorsingsprojek word die faktore wat die ontwerp, opneem en vrystelling van ‘n klankbiblioteek beïnvloed bestudeer deur die skep van so ‘n biblioteek. Die oorwegings vir die keuse van ‘n tromstel is noukeurig uiteengesit in die lig van die faktore wat betrekking het tot, en wederkerig beïnvloed is deur die instrument en opname-omgewing. ‘n Professionele tromspeler is vir die projekdoeleindes gekontrakteer om ‘n Gretsch akoestiese tromstel te speel. Klankmonsters van die tromstel se individuele komponente is in drie lokale binne die Konservatorium van die Universiteit van Stellenbosch opgeneem, met redes soos uiteengestip in die teks. Klankopnames van die talle tromslae is gemeng en opgesny in individuele klankmonsters. Laasgenoemde is in GigaStudio, ‘n digitale sagteware sampler, gekarteer sodat vyf duidelik-onderskeibare klankveramelings geskep is. Hierdie versamelings lig die kwaliteit van die tromstel asook die verskeie opnamelokale en toerusting wat gebruik is duidelik uit. Die resultaat van die studie is ‘n professionele produk in die vorm van ‘n Gretsch kommersiële klankbiblioteek, waarvan verskeie klankmonsters reeds oor die afgelope 12 maande in plaaslike musiekvrystellings gebruik is. Hoewel die klankbiblioteek huidiglik vrygestel word, toon die produk en dokumentasie duidelik die artistiese en tegniese waardigheid van die studie. Die studie antisipeer toekomstige navorsings-moontlikhede wat uit die onderwerp mag voortspruit.

Syftet med detta arbete är att öka insikten i hur fördelningen mellan hantverk och uttryck ser ut på trumsetslektioner inom genrerna rock/pop/jazz och hur olika lärare arbetar kring/med begreppen personligt uttryck och hantverk. Jag har intervjuat fyra pedagoger – tre från musikskolan och en från gymnasiet – och använt mig av kvalitativ intervju som metod. Följande forskningsfrågor ligger som grund för arbetet: Finns det en tydlig uppdelning mellan moment som fokuserar på hantverk och personligt uttryck under trumsetslektioner på gymnasieskolan och kulturskolan - och i så fall, hur ser fördelningen mellan dessa inslag ut? Hur hanterar trumsetslärare dessa två begrepp i sin undervisning?   Resultatet visar att samtliga informanter inkluderar moment som kretsar kring både hantverk och personligt uttryck i trumsetsundervisningen. De kombinerar ibland dessa två områden men resultaten visar även att användandet kan bero på undervisningens natur snarare än aktiva val gjorda av informanterna. De deltagande trumsetslärarna definierar personligt uttryck som något som har med det musikaliska att göra till skillnad från hantverket, som har att göra med tekniskt kunnande. Fokus på lektionen tenderar att väga över åt det personliga uttrycket, så länge eleven har kommit till en viss grundläggande hantverksmässig nivå. Gemensamt för alla informanter är att fokus har flyttats från ett mer tekniskt/hantverksmässigt fokus till ett mer individinriktat med betoning på uttryck, i takt med ökad arbetslivserfarenhet. De informanter som har arbetat på både gymnasium och kulturskola menar att betygen kan verka hämmande i valet av fokus, eftersom personligt uttryck kan te sig mera svårbedömt än teknisk färdighet. / The aim of this work is to increase an understanding of how the division between a technical and personal expression in teaching the drums in the genres of rock, pop and jazz, and how teachers work around or with the concepts of personal expression and technique. I have interviewed four teachers and used the qualitative interview method. The following research questions are the basis of the work: Is there a clear division between the elements that focus on a technical and personal expression in teaching the drums in high school and school of music and arts - and if so, what is the relationship between those elements? How do drum teachers handle these two concepts in their teaching? The results indicate that all the informants include elements that revolve around both a technical and personal expression in drum lessons. They sometimes combine these two, but the results also show that the use may depend on the nature of teaching rather than an active choice made by the informants. The participating teachers define self-expression as anything that relates to the musical side of playing as opposed to the technical, which has to do with technical expertise. Focus on the lesson tends to lean more to the personal expression, as long as the student has reached a certain basic level of technique. Common to all informants is that the focus has shifted from a more technical and craft-oriented focus to a more individual emphasis with a focus on expression, with an increase in work experience. The informants who have worked at both the high school and school of music and arts level believe that grades may constrain the choice of focus, as self-expression may seem more difficult to assess than technical skills.

Syftet med föreliggande studie är att undersöka timing som aspekt av och transkription i relation till musik i tempo rubato. I studien undersöks en fyra veckor lång instuderingsperiod där ett stycke musik i tempo rubato lärdes in med utgångspunkt i en ljudande förlaga. Studien utgår från ett fenomenologiskt livsvärldsperspektiv och resultatet grundar sig på loggboksanteckningar samt ljud- och videoinspelningar från övningsperioden. Resultatet presenteras utifrån temana instudering och inlärning och utförande, och visar att olika instuderingsmetoder använts med olika syften, att inlärningen starkt påverkas av tidigare erfarenheter samt att musikens avsaknad av stadig puls medförde svårigheter som inte uppkommer i instudering av musik där tempot och pulsen är mer konsekvent. I resultatet framkommer även att transkriptionen haft stor inverkan på instuderingen genom det förhållande som finns mellan transkriptionen och upplevelsen av musiken. Slutligen diskuteras timing och transkription utifrån litteratur och tidigare forskning i ämnet, med tonvikt på livsvärldsperspektivet. / The purpose of the present study is to examine timing as an aspect of and transcription in relation to music in tempo rubato. The study examines a four week learning period wherein a piece of music in tempo rubato was practiced with the original recording being used as the starting point. The study is based on the phenomenological life world theory and its results are based on logbook entries as well as audio and video recordings made during the practice period. The results are presented from the themes studying and learning and performance and show that different practice methods were used for different purposes, that the learning process was strongly affected by earlier experiences and that the absence of a steady pulse in the music brought about difficulties that don’t occur in the study of music where the tempo and pulse is more consistent. The results also show that the transcription had a great impact on the learning process through the relation between the transcription and the experience of the music. Lastly, timing and transcription is discussed through literature presented in the background chapter, with an emphasis on the life world theory.

abstract: Double bass drumming is a genre of drum set performance that utilizes a bass drum pedal for both the right and left feet. This allows the feet to function much like the hands, and provides the ability to play faster rhythmic passages on the bass drum that would otherwise be impossible in the classic single-pedal arrangement. The feet are then elevated to new levels of importance, which creates new challenges in four-limb coordination. This double bass drumming tradition has been in use since the mid-20th century, and it has become extremely popular since that time. Today, virtually every drum set retailer offers the double bass pedal as part of their inventory. Many large drum solo competitions, such as the Guitar Center Drum-Off, also include a double bass pedal as part of the provided drum set. However, even with this recent growth in popularity of double bass drumming, there remains a significant lack of scholarly research on the topic. This could be due to the popularity of double bass drumming remaining fairly new, and that the primary implementation of this drumming style remains outside of the art music tradition. This document will help further bring this complex drumming tradition to light by providing an in-depth analysis of the double-bass drumming style through historical overview, explanation of various technical approaches and considerations, and an analysis of common double bass drumming performance practice. / Dissertation/Thesis / Doctoral Dissertation Music 2019

The field of popular music studies currently lacks effective and extensive discourse on drumming and rhythmic parameters in general. Some important preliminary work exists primarily due to significant contributions by relatively few authors. This thesis serves to expand this literature by providing a detailed explanation of many of the primary elements involved in the intricate practice of rock drumming. Additionally, it expands the literature on the music of Jimi Hendrix by thoroughly exploring the musical contributions Mitch Mitchell made as the drummer for the Jimi Hendrix Experience. Mitchell's stylistic approach to rock drumming is illuminated through analysis of the drum parts in four of the group's songs. An explanation of rock drumming in general and one effective individual approach are present within the work.

Made available in DSpace on 2016-12-08T17:06:45Z (GMT). No. of bitstreams: 1 115847.pdf: 25635272 bytes, checksum: 1ec634734e012e50e7ca3a2cc9bc6e54 (MD5) Previous issue date: 2013-09-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation presents an organological study of the drum set, including the key musical contexts which had representativity for their creation, the aesthetic transformations present in the process and the development of a standardized and commercially widespread configuration, wich has reflected in the physical identity of the acoustic drum until the present day. Among the several musical contexts in which the instrument gained performance space, the Brazilian instrumental music represents a fertile field of the use of concepts and techniques developed in the drum set and also the of adaptation of ancient percussive practices that have printed rhythms and musical genres coined in Brazil. To identify some of the elements that situate musical traits of the drum set in Brazilian instrumental music, we opted for a study on the drum set performance of Marcio Bahia, from the Hermeto and Group. In this sense, are addressed historical and biographical clippings, interviews and musical analyzes that reveal the features that constitute the performance of Marcio Bahia and, consequently, elements that integrate a drum set language expressed in the investigated context of the Brazilian instrumental music. / Este trabalho apresenta um estudo organológico da bateria que inclui os principais contextos musicais que tiveram representatividade para o seu surgimento, suas transformações estéticas presentes neste processo e no desenvolvimento de uma configuração padronizada e difundida comercialmente, que tem refletido na identidade física da bateria acústica até a atualidade. Entre os diversos contextos musicais nos quais o instrumento conquistou espaço de atuação, a música instrumental brasileira representa um campo fértil do uso de concepções e técnicas desenvolvidas na bateria e também da adaptação de práticas percussivas ancestrais que imprimiram os ritmos e gêneros musicais cunhados no Brasil. Para identificar alguns dos elementos que situam traços musicais da bateria na musica instrumental brasileira, optou-se por um estudo sobre a performance na bateria de Marcio Bahia no Hermeto e Grupo. Neste sentido, são abordados recortes históricos e biográficos, depoimentos e análises musicais, que revelam as características que constituem a performance de Marcio Bahia e consequentemente elementos que integram uma linguagem de bateria expressa no contexto investigado da música instrumental brasileira.

Orientadores: Fernando Augusto de Almeida Hashimoto, José Roberto Zan / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T20:08:37Z (GMT). No. of bitstreams: 1 Barsalini_Leandro_D.pdf: 19158845 bytes, checksum: 6a87dc73a25a56a5259c8ba5afb3d474 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa teve por finalidade identificar modos de execução do instrumento bateria no samba, ilustrados em registros fonográficos realizados por vários artistas desde a década de 1930. A partir da escuta das gravações, empreendeu-se a prática musical visando a consequente reprodução dos respectivos padrões de execução da bateria; posteriormente, trechos foram selecionados, transcritos e analisados. Tais análises se desenvolveram com base nos aspectos musicais (técnicos e interpretativos) diretamente observados, bem como da própria contextualização histórica dos exemplos em questão. Dessa maneira, foram também considerados aspectos decorrentes da escuta da música como um produto cultural, gerado em diferentes condições tecnológicas e fruto de determinações estéticas e mercadológicas. Sendo assim, os dados levantados através da observação e da prática musical deram suporte a reflexões, no sentido de desvendar os sentidos das estratégias musicais levadas a cabo pelos bateristas citados, entendendo que tais estratégias foram condicionadas, ainda que muitas vezes de maneira inconsciente por parte dos protagonistas, pelas demandas e transformações da sua esfera de atuação no mercado de trabalho. Como resultado, foi possível entender em que medida certas abordagens da bateria se conectam ou se distanciam de procedimentos técnicos comuns a instrumentos "típicos" da percussão do samba, iluminando um panorama histórico e musical construído a partir do ponto de vista da prática do instrumento bateria, e alicerçado em quatro matrizes estilísticas: o samba batucado, o samba escovado, o samba conduzido e o samba fraseado. Na medida em que cada padrão de execução utiliza elementos característicos a uma ou mais matrizes, são revelados níveis de conflitos entre os ideais de tradição e modernidade, norteadores em grande parte dos estudos sobre música popular brasileira / Abstract: This research aimed to identify different ways to play drumset on the samba rhythm, illustrated in phonograph records made by several artists since the 1930s. From listening to the recordings, the consequent musical practice aimed to reproduct the standards drumset patterns; later passages were selected, transcribed and analyzed. Such analyzes are developed from music (technical and interpretive) aspects directly observed, and also the historical context of the examples itself. Thus, were also considered issues arising from listening to the music as a cultural product, generated in different technological conditions and the result of aesthetic and market determinations. Thus, the data collected through observation of musical practice have supported reflections, to unravel the meaning of musical strategies undertaken by drummers mentioned, understanding that such strategies were conditioned, yet often so unconscious by of the protagonists, by the demands and changes in their sphere of activity in the labor market. As a result, it was possible to understand the extent to which certain approaches connect the drumset to common technical procedures of "typical" samba percussion instruments, illuminating a historical and musical panorama built from the point of view of the practice of the drumset, and grounded in three stylistic matrix: the samba batucado, the samba escovado and the samba de prato. As each pattern uses characteristics elements of one or more matrix, levels of conflict are revealed between the ideals of tradition and modernity, guiding in most studies of Brazilian popular music / Doutorado / Fundamentos Teoricos / Doutor em Música

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