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The Multi-percussion Writing of William Kraft in his Encounters Series With Three Recitals of Selected Works of Erb, Ptaszynska, Redel, Serry, and OthersBridwell, Barry D. 05 1900 (has links)
The paper is divided into six chapters. The first two provide a brief summary of the evolution of multiple percussion and biographical information about Kraft. The remaining chapters are an examination of the origin, sound sources, compositional style, and performance problems of the ten Encounters pieces. The paper concludes with several appendices, including a chronological listing of Kraft's compositions which use percussion, a list of percussion equipment and notational symbols used in the Encounters pieces, and a discography of Kraft's music.
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A Performance Guide to Glenn Kotche's "Monkey Chant"Sharp, Jonathan 01 January 2014 (has links)
Solo percussionist and composer Glenn Kotche has achieved international fame with his experimental percussion-based music, collaborating with and composing for renowned contemporary music ensembles such as the Kronos Quartet, Band on a Can All-Stars, So Percussion, and Eighth Blackbird. One of his most celebrated compositions in recent years is Monkey Chant, which combines acoustic and electronic elements in a solo multiple percussion setting. Written and premiered in 2006, Kotche was inspired to compose Monkey Chant after listening to original field recordings in Bali from the Nonesuch Explorer Series. Found in these recordings is the popular Balinese music and dance drama known as Kecak. Monkey Chant showcases, through percussion, the intricate vocal patterns and recounting of the Ramayana Epic featured in Balinese Kecak.
This monograph serves as an informational performance guide for Monkey Chant that simplifies and resolves performance questions and issues. It provides a contextual setting for the work with a brief biography of Glenn Kotche, including his musical influences and inspiration for the composition. Balinese Kecak is examined as well as the Hindu Ramayana tale as it relates to Kotche’s composition, revealing the function for its compositional form. This document also clarifies and details preparatory procedures for collecting and building the unique instruments required, also detailing schematics for electronic audio equipment and setup. Lastly, there is an analysis of compositional style and form, offering optional solutions to performance obstacles.
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An examination of notation in selected repertoire for multiple percussionSmith, Alyssa Gretchen 14 July 2005 (has links)
No description available.
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Particularidades da percussão múltipla na música solo e de câmara mista de Iannis XenakisPereira, Lucio Silva 25 April 2014 (has links)
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Previous issue date: 2014-04-25 / This research is organized in two parts: A – Artistic production and B – Paper. The first part
presents the programs and the program notes of the concerts held on August 23, 2013 and
April 25, 2014. The second part presents the paper, which aims to study the use of multiple
percussion in Iannis Xenakis solo and mixed chamber music, identifying and discussing
performance characteristics of this set of works as well as idiosyncratic elements of
percussion written by this composer. The paper begins with the concept of multiple
percussion, historically situates the percussion in Western classical music during the twentieth
and twenty-first centuries, and underscores the importance of Iannis Xenakis as a composer
for this new lineage of percussion. The paper also proposes an approach to the works in which
there is one percussionist playing multiple percussion set-ups, in solo or mixed chamber
music context. Thus, the selected works are: Psappha (1975), Dmaathen (1976), Komboï
(1981), Kassandra (1987), Oophaa (1989), Rebonds (1987/89) and Plektó (1993). After
delimiting the repertoire to be studied, this paper identifies and discusses four characteristics
of the works: (1) instrumentation, (2) the use of polyrhythms, (3) issues relating to the
impossibilities in Xenakis’ music and (4) the use of polyphonic textures. The discussion
section suggests traits that characterize the composer’s writing, identifying elements of
recurrent use in various works, developing benchmarks, proposing technical solutions and
developing interpretive conceptions that seek to contribute in the preparation of the
performance of this set of works. / Esta pesquisa está organizada em duas partes: A – Produção artística e B – Artigo. A primeira
parte apresenta os programas e as notas de programa dos concertos de qualificação e defesa,
realizados, respectivamente, nos dias 23 de agosto de 2013 e 25 de abril de 2014. A segunda
parte consiste no artigo, que tem como principal objetivo estudar a utilização da percussão
múltipla em obras solo e de câmara mista de Iannis Xenakis, identificando e discutindo
particularidades da performance desse conjunto de obras, bem como elementos
idiossincráticos na escrita percussiva do compositor. O artigo parte da conceituação de
percussão múltipla, situando historicamente a percussão na música clássica ocidental durante
os séculos XX e XXI, e ressalta a importância de Iannis Xenakis como compositor para essa
nova linhagem do fazer percussivo. O trabalho também propõe dar um enfoque nas obras em
que há um percussionista tocando percussão múltipla, seja solo ou em um contexto
camerístico misto. Assim, as obras selecionadas e discutidas ao longo deste artigo são:
Psappha (1975), Dmaathen (1976), Komboï (1981), Kassandra (1987), Oophaa (1989),
Rebonds (1987/89) e Plektó (1993). Delimitado o repertório a ser estudado, este artigo
identifica e discute quatro particularidades das obras: (1) instrumentação, (2) uso de
polirritmias, (3) questões referentes a impossibilidades na música de Xenakis, e (4) uso de
texturas polifônicas. A discussão aponta traços que caracterizam a escrita do compositor,
identificando elementos de uso recorrente nas diversas obras, elaborando pontos referenciais,
propondo soluções técnicas e desenvolvendo conceitos interpretativos que buscam contribuir
para a preparação da performance do conjunto de obras.
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Physical Gesture, Spatialization, Form and Transformation in Watershed I/IV, for Solo Percussion and Real-time Computer Spatialization, by Roger ReynoldsLicata, Julie M. 12 1900 (has links)
Watershed I/IV, for Solo Percussion and Real-time Computer Spatialization was composed in 1995 by Pulitzer prize-winning composer Roger Reynolds. This work is a 25-minute choreographed music drama for one multiple-percussionist, in which Reynolds incorporates the musical transformation of percussion instrument families, the physical gestures of the performer, and the spatialization of processed sounds around the audience. This dissertation addresses several aspects of Watershed, which include: the expressive intent and extra-musical concepts; the formal organization, and several non-musical tools that Reynolds utilized in designing the piece (e.g. logarithmically derived sequences); the primary musical motives; the instrument setup and how the resulting physical gestures contribute to the musical intent; and the real-time computer spatialization. Throughout the document, specific musical passages are demonstrated with notated musical examples and embedded video/audio clips. In addition, transcripts of my interviews with composer Roger Reynolds, percussionist Steven Schick (premiere performer of Watershed) and engineer/technician Greg Dixon (engineer for my performances of Watershed IV) are also included.
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