Thesis (D.M.A.)--University of Wisconsin--Madison, 1994. / Duration: 12:19. Typescript. Includes performance notes. eContent provider-neutral record in process. Description based on print version record.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xix, 218 p.; also includes graphics. Includes bibliographical references (p. 177-185). Available online via OhioLINK's ETD Center

A multi-channel electro-acoustic composition for flute, clarinet, percussion (2 players), and tape. Includes pre-recorded audio and live processing. System requirements: Adobe Acrobat Reader. Includes performance notes. Includes bibliographical references (p. 56-58).

abstract: Instrument design is intrinsic to multiple percussion solo performance preparation, from formulating a physical layout of instruments that best suit each work's technical requirements to fabricating unique instruments to fulfill each composer's sonic specifications. Several works in the multiple percussion repertoire require setups comprised partly or entirely of performer-built instruments. Given that performers have varying degrees of expertise with instrument design and construction, the specialized instruments created do not necessarily meet the level of care with which many of the masterworks in the percussion field were created. Even with the many articles, books, and other publications regarding the instrument design issues of specific works, solo percussion literature is so varied that many set-ups are created using a set of nebulous guidelines. Developing solutions to the problems inherent in multiple percussion instrument design is clearly a continuing effort. Instrument and setup design within selected works for solo multiple percussion is the focus of this document and will be addressed through specific examples from literature commonly performed on concert stages and educational institutions. The scope of this document is limited to the widely applicable design issues of three pieces: Maki Ishii's Thirteen Drums: for Percussion Solo, Op. 66 (1985), David Lang's The Anvil The Chorus: for Percussion Solo (1991), and Steve Reich's Music for Pieces of Wood: for claves (1973). The set-up designs for these pieces suggested by the author are largely the focus for which other material in this document is preparatory. / Dissertation/Thesis / D.M.A. Music 2012

American composer Stuart Saunders Smith (b. 1948) has been active in the composition of contemporary art music for over forty years, composing over 200 musical and interdisciplinary works. His music ties the experimental world of contemporary music to his experiences living, composing, and teaching in the northeastern United States. Many of his works have included spoken word as a percussion instrument, either alone or blended with instrumental percussion writing. Although not unique in blurring the boundaries between text and music, Stuart Saunders Smith’s texted percussion works manage to both belong to tradition and exist as a unique body of works, as can be seen by studying the context of their creation, technique in synthesizing music and text, and usage of text as melodic material.

Surfaces is a work for two percussionists in four movements. It uses a variety of small percussion instruments, keyboard percussion, and two specially built kalimbas. This document contains both the score and an analysis of the piece that covers instrument choice, performance practice, form and compositional techniques employed

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The purpose of this study was to evaluate the efficiency of three common grips used in four-mallet playing. The three grips were referred to as (a) the Musser grip, (b) the cross stick grip No. 1, and (c) the cross stick grip No. 2. A thorough description (including illustrations) was given for each grip. The evaluation of efficiency was made through research testing, which was conducted by the author. Forty individuals participated in the research testing. Four tests were conducted, and each test had ten participants. The individuals who participated in Tests I, II and III had no previous four-mallet experience. The individuals who participated in Test IV had previous four-mallet experience. The evaluation of the efficiency covered by the four tests was limited to (a) horizontal movement of the outside mallet(s), (b) horizontal movement of the inside mallet(s), and (c) horizontal movement of the hand (s). According to Tests I, II and III, the majority of beginning four-mallet players will find the cross stick grip No. 2 the easiest and most efficient (as far as the three movements which were tested are concerned) of the three grips. However, some individuals (a much smaller percentage) will prefer either the Musser grip or the cross stick grip No. 1. Many beginners will find the Musser grip extremely difficult. A very small percentage of beginning four-mallet students will have poor efficiency using cross stick grip No. 2. According to the results of Test IV, the efficiency of the Musser grip and the cross stick grip No. 2 improve at a faster rate than does the efficiency of the cross stick grip No. 1. The movements tested in this study are extremely important when playing with four mallets. However, this study was limited to the testing of three types of horizontal movements and, therefore, did not cover all the aspects of four-mallet playing. Because all factors were not included in this study, no one grip was proven to be ultimately the "'best." Each individual four-mallet player must decide for himself which grip is best suited for his particular needs. The findings of this study should aid in making that decision.