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

This thesis aims to interpret the construction of cultural identity of the Caribbean islands in Derek Walcott¡¦s The Haitian Trilogy: Henri Christophe, Drums and Colours, and The Haitian Earth. To rely on the postcolonial and cultural critics¡¦ study on mimicry, multiple voices and identity construction, I take the construction of cultural identity as a transitional process to fabricate a way to identify with the land that people live on. The colonial background and the postcolonial exploration in the Caribbean islands combined with its diverse racial components, the Caribbeans always experience the predicament in identity construction. Derek Walcott composes his writings from this complex environment and represents the identity formation through continuing observation and exploration. In Introduction, the historical context and the literary development in the Caribbean islands introduce the theme of history and cultural as the common consideration of Caribbean writers; therefore, among their writings, the construction of cultural identity situates a significant position in their writings. The Haitian Revolution plays a significant role in the cultural identity formation in the Caribbean literary writings, since it is the turning point to lead this area from colonization to postcolonial situation, and it inspires writers to review the historical incident and to rewrite the history that they, at this time, write by themselves. Derek Walcott¡¦s The Haitian Trilogy comes not from a planned writing sequel, but from spontaneously reiterative consideration of the Haitian Revolution as a means to write the history of one¡¦s own land and to construct the cultural identity from the self-articulation. Chapter Two¡XHenri Christophe examines the means of mimicry to loosen the colonial control over the colonized and furthermore subvert the colonial power. Chapter Three¡XDrums and Colours portrays the colonial and postcolonial subject relation by way of writing the colonial history and juxtaposing multiple voices of the different classes of characters. Chapter Four¡XThe Haitian Earth aims to demonstrate the struggle to free from the colonization in order to construct the cultural identity from the identification with the land rather than with the remorse of the suffering past. The conclusion collocates the above discussion about the trilogy for the transitional process of the cultural identity formation and illuminates Walcott¡¦s position on the construction of the cultural identity in the Caribbean islands and other similar areas.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-21T16:30:42Z No. of bitstreams: 1 arquivototal.pdf: 3799587 bytes, checksum: da5ef68c2f776ecc7097c1010149dc82 (MD5) / Made available in DSpace on 2016-07-21T16:30:42Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3799587 bytes, checksum: da5ef68c2f776ecc7097c1010149dc82 (MD5) Previous issue date: 2015-03-26 / Popular musicians usually learn their instrument by ear, on their own and taking part of musical groups formed by mutual friends. Nowadays, they have also been seeking for formal education to enhance their knowledge and be more certified. Similarly, the formal spaces to learn music are changing as new courses are being created to supply this demand of new musicians. In this way, this study used the research methodology ‘action research’ to investigate how formal classes that use audio and video recordings affect the skills of popular drummers. The first three chapters of this work compose a bibliographic research that address, respectively, the popular musician, the drums as their musical instrument, and the recording technology. The approach action research was used in a process followed by a cycle so that the researcher could intervene in a practice, with the intention of change. Two participants who did not have any previous formal study were chosen and interviewed to understand what were their opinions about the formal study of the instrument, on the use of recording technology in a pedagogical form, and how were their careers as drummers. Then, four performance observations were done with each participant, assessing their practices in their musical style. A syllabus containing 12 classes was designed from the analysis of these data and a corresponding course was held between September 2013 and April 2014. These private lessons contained topics that are usually present in both formal and informal spaces of musical education. Another learning resource used was make recordings, which is usually regarded as a self-learning music. A period of five months after the interventions was required to seamlessly incorporate studies in the practices of the participants. After this, four more observations were performed with each participant to look for any signs of change. Although they demonstrated some possible effects from studies conducted in private lessons, the observations could not make it clear that these changes were only due to the process carried out in the action step. The changes were clearer after a final interview, which brought about the improvement of self-observation and self-criticism of the two drummers. Furthermore, the positive effects on the perception of “vices” that they carry and also how important was recording as means to learn how to play the drums. It was concluded that the formal studies that have been associated with previous knowledge of these two drummers brought new rhythmic phrases to their repertoires and perfected their ways of playing the instrument. / Os músicos populares normalmente aprendem a tocar sem o auxílio de professores, por conta própria, tirando músicas de ouvido e participando de grupos com amigos em comum. Atualmente, eles também têm se inserido no âmbito formal de ensino, buscando aprimorar os seus conhecimentos para uma melhor qualificação no mercado de trabalho. Da mesma forma, os espaços formais de ensino de música também estão se modificando, criando novos cursos para esta nova demanda de músicos. Assim, essa pesquisa teve como objetivo geral investigar, através de pesquisa-ação, como aulas teóricas e práticas com o recurso metodológico de gravações em áudio e vídeo influem na prática musical de bateristas populares. Para contextualizar o problema e fundamentar a análise, os três primeiros capítulos de base bibliográfica trataram de pontos específicos, sendo o primeiro voltado para o músico popular, o segundo para a bateria e o terceiro para a tecnologia da gravação. Foi utilizada a abordagem de pesquisa-ação, em um processo no qual se seguiu um ciclo para que o pesquisador pudesse intervir em uma prática, com a intenção de mudança. Depois da escolha de dois participantes que não tinham realizado estudos formais prévios, buscou-se compreender, por meio de uma entrevista, quais eram as suas opiniões em torno do estudo formal do instrumento, sobre o uso da tecnologia da gravação de forma pedagógica e como foram as suas trajetórias como bateristas. Em seguida, foram realizadas quatro observações com cada participante, avaliando as suas práticas em seus grupos musicais. A partir da análise desses dados, foi elaborado um plano de curso contendo 12 aulas, ministradas entre os meses de setembro de 2013 e abril de 2014. Através dessa intervenção na forma de aulas particulares, foram vistos alguns dos conteúdos que são comumente estudados nos espaços formais que contemplam o ensino de bateria, assim como outros assuntos que são normalmente tratados em ambientes não formais. Também foi utilizada a gravação como recurso de aprendizagem, modo que é comum na autoaprendizagem de instrumentos. Cinco meses após a intervenção, período este necessário para que os estudos pudessem ser incorporados de forma “natural” nas práticas dos participantes, ocorreram quatro (re)observações com cada um deles, na busca de algum sinal de mudança. Apesar de apresentarem alguns efeitos possíveis decorrentes dos estudos realizados nas aulas particulares, as (re)observações não puderam deixar claro se essas mudanças decorreram exclusivamente do processo realizado na etapa de ação. As mudanças ficaram mais claras através de uma entrevista final, que trouxe informações sobre a melhora da auto-observação e da autocrítica musical dos dois bateristas, além de efeitos positivos sobre a percepção dos “vícios” que eles carregam consigo e também o quanto é importante a gravação como forma de aprendizagem de bateria. Foi possível concluir que os estudos formais foram associados aos conhecimentos prévios desses dois bateristas, trouxeram novas frases rítmicas aos seus repertórios e aperfeiçoaram suas formas de tocar o instrumento.

Orientador: Jose Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T03:04:33Z (GMT). No. of bitstreams: 1 Barsalini_Leandro_M.pdf: 3541987 bytes, checksum: 0bcd3e98ffb0aa42541f74d33d72e652 (MD5) Previous issue date: 2009 / Resumo: O presente trabalho investiga o desenvolvimento de padrões de execução da bateria e suas transformações desde a inserção do instrumento no cenário do samba urbano carioca até meados da década de 1960. Para tanto, fizemos transcrições e análises das performances de importantes representantes das duas primeiras gerações de bateristas brasileiros: Luciano Perrone e Edison Machado. Relacionando os dados levantados com os respectivos contextos históricos, levando em conta desde elementos estéticos musicais até questões técnicas relativas ao instrumento, observamos nesses bateristas a síntese de duas matrizes para padrões de execução, chamadas respectivamente samba batucado e samba de prato / Abstract: The present work investigates the development of samba drums patterns and its transformation since the insertion of the instrument in the scene of the carioca urban samba until the middle of the 1960's. Therefore, transcriptions and analyses of the performances of important representatives of the two first generations of Brazilian drummers were made: Luciano Perrone and Edison Machado. When relating the data raised with the respective historical contexts, considering since the musical aesthetic standards until technical issues related to the instrument, it was observed in these drummers the synthesis of two patterns of execution, respectively named samba batucado and samba de prato / Mestrado / Fundamentos Teoricos / Mestre em Música

abstract: Granular material can be found in many industries and undergo process steps like drying, transportation, coating, chemical, and physical conversions. Understanding and optimizing such processes can save energy as well as material costs, leading to improved products. Silica beads are one such granular material encountered in many industries as a catalyst support material. The present research aims to obtain a fundamental understanding of the hydrodynamics and heat transfer mechanisms in silica beads. Studies are carried out using a hopper discharge bin and a rotary drum, which are some of the most common process equipment found in various industries. Two types of micro-glass beads with distinct size distributions are used to fill the hopper in two possible packing arrangements with varying mass ratios. For the well-mixed configuration, the fine particles clustered at the hopper bottom towards the end of the discharge. For the layered configuration, the coarse particles packed at the hopper bottom discharge first, opening a channel for the fine particles on the top. Also, parameters such as wall roughness (WR) and particle roughness (PR) are studied by etching the particles. The discharge rate is found to increase with WR, and found to be proportional to (Root mean square of PR)^(-0.58). Furthermore, the drum is used to study the conduction and convection heat transfer behavior of the particle bed with varying process conditions. A new non-invasive temperature measurement technique is developed using infrared thermography, which replaced the traditional thermocouples, to record the temperatures of the particles and the drum wall. This setup is used to understand the flow regimes of the particle bed inside the drum and the heat transfer mechanisms with varying process conditions. The conduction heat transfer rate is found to increase with decreasing particle size, decreasing fill level, and increasing rotation speed. The convection heat transfer rate increased with increasing fill level and decreasing particle size, and rotation speed had no significant effect. Due to the complexities in these systems, it is not always possible to conduct experiments, therefore, heat transfer models in Discrete Element Method codes (MFIX-DEM: open-source code, and EDEM: commercial code) are adopted, validated, and the effects of model parameters are studied using these codes. / Dissertation/Thesis / Doctoral Dissertation Chemical Engineering 2020

In this project, the purpose has been to research new ways of improving my bebop phrasing on the drums by transcribing one of the great saxophonists in jazz history – Charlie Parker. As a drummer, my main outlet for learning the language of bebop has been by transcribing other drummers. My theory is that I might find new ways of approaching my own instrument by transcribing someone who plays a different instrument than I do.  This work is based around my personal goal of learning the phrasing and the language of bebop. To fully grasp the rich history of the music I´ve examined the rhythmic principles of one of the inventors – Charlie Parker. I write about my findings and my process of incorporating methods of phrasing into my own musical vocabulary.  This project could be interesting for all kinds of practicing musicians but foremost for drummers. / <p>Repertoar:</p><p>Dewey Square (Parker)</p><p>A Night in Tunisia (Gillespie/Paparelli)</p><p>Lover Man (Davis/Ramirez/Sherman)</p><p>Koko (Parker)</p><p>My Little Suede Shoes (Parker)</p><p>Rocker (Mulligan)</p><p>Medverkande musiker:</p><p>Axel Mårdsjö - altsaxofon</p><p>Hampus Adami - trombon</p><p>Kalle Johansson - piano</p><p>Johan Tengholm - kontrabas</p><p>Johan Förnell - trummor</p>

In this project, I have used material gathered by transcribing two meaningful drummers in the history of jazz, Elvin Jones and Eric Harland, in order to create original compositions. The transcription process is discussed, as well as how I took inspiration from a few of the phrases I found interesting, and tried to create new material based on those ideas. Towards the end of this thesis, I draw the conclusion that to create new music with this method, I need external inspiration such as harmony or melody in addition to the drum part to create a composition that I’m satisfied with.

In this thesis, I explore various techniques for achieving greater melodicism with the drumset. My approach centers primarily through different arranging methods. The basis of this work is four of my own compositions, specifically arranged in order to enable melodic playing with the drumset. Within the Jazz tradition certain instruments have specific roles. For example, the drums usually have an accompanying role behind the soloists and melody presentation. This is key within the context of the music however, in this project I try to discover the other musical roles primarily melodic and soloistic expression, with the drumset. This work could be of value to any jazz musician wanting to learn more about how different musical roles can influence improvisation and their general playing, and especially for those drummers wishing to develop their melodic playing. Keywords: Exploring different musical roles, compositions, drums, arranging, melodic playing / <p><strong><em>På konsersten framfördes fyra original kompositioner ut av mig:</em></strong></p><p><em>Aqua, På Väg, Framför Brasan &amp; The Last Dance</em></p><p><strong>Medverkande:</strong></p><p>Melker Annas - Trombon</p><p>Eskil Larsson - Tenorsax</p><p>Maja Svantesson - Sång</p><p>Anton Brodin - Gitarr</p><p>Jakob Ulmestrand - Bas</p><p>Ryan Ward - Trumset &amp; kompositioner</p>

Det finns en uppsjö av böcker och filmer som förklarar ridecymbalteknik och hur olika ridecymbalmönster ska spelas. Däremot saknas beskrivningar på ridecymbalteknik kopplat till handrörelser istället för rytmisering. I den här uppsatsen har ridecymbaltekniker undersökts och hur dessa kan läras ut inom ramen för kategorin tutorials på Youtube. Först studerades 18 Youtube-klipp och därefter genomfördes en kategorisering av ridecymbalteknikerna utifrån ett tekniskt perspektiv. Därefter valdes fem stycken av dessa tutorials som sedan analyserades utifrån ett multimodalt perspektiv. Studien har resulterat i att jag har fått mer kunskaper om ridecymbaltekniker och hur multimodalitet kan användas i undervisning både digitalt som analogt och betonar hur tutorials på Youtube kan ses som ett komplement till den traditionella undervisningen. Studiens fördjupning har även gett upphov till utökade tekniska och multimodala mer detaljerade kunskaper som kan kopplas till tidigare studier om exempelvis timing och multimodala aspekter som handlar om lektionsupplägg och lärarpersonligheter. / There exists a vast variety of books and movies that explain ride cymbal technique and how different patterns are supposed to be played. On the other hand there is a lack of descriptions of ride cymbal technique connected to hand movements instead of rhythmisation. In this thesis I have been investigating ride cymbal techniques and how to teach the subject. Firstly I chose to study 18 Youtube clips and subsequently five out of these which were then analysed from a multimodal perspective. The study has given me more knowledge about ride cymbal techniques and how to apply multimodality both digitally and analogically. It also shows how Youtube tutorials can complement traditional teaching approaches. The elaboration of the study has given rise to expanded more detailed knowledge related to earlier studies about for example timing and multimodal aspects regarding lesson set-up and teacher personalities.