Thesis (D.M.A.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 136-139).

D.M.A. final project--Department of Music, Stanford University, 2008. / Includes performance instructions (p. 16-18). "This piece will employ novel notation and scoring techniques using custom-designed software for animated notation, real-time composition and performance based interactivity."--p. iv. Accompanying CD-ROM contains computer-animated software. Includes bibliographical references (p. 20).

Master of Music / Department of Music, Theatre, and Dance / Kurt R. Gartner / This document is an analysis of the all of the pieces prepared for my master’s recital which was given on March 12, 2017 in Kirmser Hall on the campus of Kansas State University. I have analyzed these piece from both a theoretical and historical point of view. When programming a recital, especially a recital for a collegiate percussion student, it is important to have a diverse representation of percussion music to demonstrate a broad knowledge of music and technical ability.

Thesis (M.A.)--University of California, San Diego, 2008. / Accompanying disc is DVD-ROM and contains sound files of the recording of the recital. Title from first page of PDF file (viewed Jun. 25, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 7.

An important resource in many areas of music is the availability of standardized graded databases of literature for solo instruments. These databases provide a progression of technical abilities that help musicians follow a proper path in developing new skills. Currently in the area of percussion, there are no graded databases for solo vibraphone literature. While there are several sources that contain subjective graded music lists, none of these sources have a standardized approach in defining each of their difficulty levels, and this creates contradicting information for particular pieces. The goal of this research is to present the first standardized and systematic approach to grading the difficulty levels of vibraphone literature. Influenced by pianist Jane Magrath's reference guide of piano teaching literature and percussionist Julia Gaines' research project on marimba repertoire, this research is modeled on Gaines' objective analysis document used to grade marimba literature with ten different levels of difficulty. With the exception of dampening and pedaling, all of the technical aspects required for playing the vibraphone remain the same as the marimba. Because musical considerations are subjective in nature, only the quantifiable technical considerations are used for grading each work in an objective manner. The technical difficulty of original unaccompanied four-mallet solo vibraphone literature is assessed through the analysis of stroke speed, interval size, wrist turns, manual changes, independence, dampening, and pedaling. Each piece's grade will be classified based on the highest level of technical difficulty found in the music. The selection of vibraphone literature for this research comes from pieces found on prescribed state music lists and university handbook recommendation lists. Annotations are included to describe the pieces that are particularly mislabeled, and a discussion regarding the performance challenges that each piece presents are offered. Three annotations from each of the ten difficulty levels contain a justification based on the results recorded in the analysis document. With an extensive graded database containing over one hundred seventy vibraphone pieces listed in the appendix, this resource will assist percussion students and educators in selecting appropriate vibraphone literature to study and perform within a proper progression from one work to another.

In 1995 Charles Timothy Sivils completed his study, "Notable Percussion Excerpts of the Twentieth Century Wind-Band Literature." Sivils' intention was to create a formal list of percussion excerpts from substantial, originally composed wind-band literature that could supplement the study of orchestral excerpts. However, because of the continuingly increasing amount of literature being written and published for wind-bands, Sivils' original list no longer reflects recent or current trends in percussion writing for the wind-band. The objective of this study is to expand upon Sivils' excerpt list.The parameters outlined in Sivils' document have been adopted for this study with only minor adjustments. This paper will examine only the following wind-band compositions: (1) Compositions written between 1980 and 2005; (2) Compositions generally considered part of the standard wind-band repertoire; (3) Compositions originally conceived for the wind-band; (4) Compositions which do not feature a soloist in a concerto format; (5) compositions that are considered "concert marches" or movements entitled "March" from a multi-movement work.To provide the author with a body of information from which to start the research, a survey was sent to approximately forty wind-band conductors and percussionists throughout the United States asking them to list pieces, following the parameters previously outlined, from the wind-band repertoire that they feel contain the most significant percussion excerpts. Thirty-eight percent of those surveyed responded. Twenty-four of the suggested works were included in this study, creating a combined list of seventy-six excerpts from this and Sivils' document.Through the use of music notation software, a portion of each part has been reproduced as it appears in the original score. No attempt has been made to correct misprints or improve upon the composer's original notation. The excerpts have been formatted to create a single practicable part that contains all of the concerns discussed in the preceding pages. As with Sivils' study, a major component of this project has been to make the performer aware of these excerpts and to give insights into their performance. / School of Music

Clarinet-percussion duos, music for one clarinetist and one percussionist, are a relatively new addition to the world of chamber music - the first work for this instrumentation was written in 1958. Throughout the second half of the 20th century, however, the genre became increasingly more popular, boasting at least 260 works before the year 1990, and dozens more between 1990 and 2000. After 2000, the genre managed to become an even larger branch of chamber music by adding at least 137 new works. Additionally, many performers dedicated solely to the grouping began to arise even before the end of 2015.This study explores the many facets of the clarinet-percussion duo that are making it a successful genre in the 21st century. It initially briefly examines the history of the clarinet-percussion duo prior to the year 2000 to provide the reader with essential background on the genre. Second, it includes a detailed survey of all clarinet-percussion duos the author was able to locate written since the year 2000, examining how the genre has grown over time in terms of compositional style and techniques, instrumentation, and national origin of the composers of the duos. Third is an overview of the growing number of clarinet-percussion performing duos and their effect on the genre in terms of commissioning works for the grouping and generating greater public exposure to the genre. The final section of the study is a set of discussions of five specific works from the genre, each detailing how the work is unique among others yet remains a key component of the clarinet-percussion oeuvre.

Sound tape reel in pocket. / Digitized by Kansas Correctional Industries

Thesis (M.A.)--York University, 1999. Graduate Programme in Music. / Typescript. Includes 20 original compositions, including works for solo percussion, works for solo drum set, works involving electronics, and works for solo lithophone (an instrument of the author's design). Includes bibliographical references (leaves 103-108). Discography: leaf 109. Videography: leaf 110. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL:http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56206.

Threads / Paul Lansky -- Arabesco infinito / Alejandro Vinao -- Corker / Libby Larsen. / text