This dissertation will focus on the concepts of musical time of two solo multiple-percussion compositions, Thirteen Drums (1985) by Maki Ishii and Rebond A (1987-1989) by Iannis Xenakis. The aesthetic experience of musical works is tied to the perception of musical time. Performers have to understand the concepts and methods of construction of musical time in order to interpreting composer’s works. The model of cognitive process in neuroscience of music and the information processing theory from cognitive psychology is provided to explain the perception of musical time and its importance to the aesthetic experience of music. The rhythmic structure, which is essential in temporal structure to the perception of musical time, is examined in depth to show its significant influence on the aesthetic experience in both works. Rhythmic tension will also affect the aesthetic experience.

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This study examines the compositional devices Eckhard Kopetzki used to create consonance and dissonance throughout his two works for solo percussion, Topf-Tanz and Canned Heat. By manipulating meter, ostinato, syncopation, polyrhythm, note values and overlapping figures, Kopetzki creates high levels of musical tension and release that shape phrase structure and large-scale form. After a discussion of rhythmic consonance and dissonance, and specific rhythmic devices, both works are considered in detail, illuminating the composer’s compositional language. Topf-Tanz is an exploration of contrasting ideas: the rhythmic and the lyrical, the call and the response, the loud and the soft. It is manifested first in the opposition of antecedent and consequent phrases and second in the overlapping of contrasting metric ideas, which creates prolonged rhythmic dissonance. Canned Heat, on the other hand, is composed through a process of continuing melodic variation. Throughout the piece, melodic motives are prolonged and abridged, creating both delay and acceleration to cadential figures. In contrast to these melodic ideas, each phrase is concluded with stark and syncopated rhythmic punctuations. Topf-Tanz and Canned Heat share Kopetzki’s creation of rhythmic consonance and dissonance. Most notably is the overlapping of contrasting metric ideas between the two hands, and highlighting this contrast through the use of two contrasting instrument families; skin and metal. On the large scale, both works progress from of a place of rhythmic consonance to one of dissonance.

This thesis covers pretty much everything about the 4’th movement of “I Ching” by Per Nørgård (“IV. Towards Completion. Fire over Water”). I have delved deep into an analysis, that helped me develop my own interpretation and understanding of the piece.  While I was doing my research, I discovered fascinating links between music and mathematics, that showed me how much we don’t know and that there are interesting subjects left for us to find. My exploration did not stop there just yet, I also found out about the “I Ching”, an ancient Chinese book, that covers a broad topic, which can be summed up in two words: Yin & Yang. This, combined with a bit of mathematics contributed to the creation of a unique vocabulary that Per Nørgård pioneered, called: “infinity series”. My thesis aim is to promote Per Nørgård’s music, that has not yet been discovered by enough percussionists.