D.M.A. final project--Department of Music, Stanford University, 2007. / Includes performance notes (leaves 5-6). Duration: 10:00.

Thesis (M.M.)--University of Wisconsin--Madison, 1958. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references ([9] leaves at end).

Thesis (D.A.)--Ball State University, 1977. / Typescript. Includes bibliographical references (leaves [146]-149).

Thesis (D.M.A.)--University of Wisconsin--Madison, 1998. / For flute (piccolo), B♭ clarinet (E♭ clarinet), violin, violoncello, and percussion (1 player), and piano. Typescript. Duration: 15:00. Includes performance instructions. eContent provider-neutral record in process. Description based on print version record.

Thesis (D.M.A.--Music)--University of California, San Diego, 2000. / Vita. Sound tape reels consist of performances on April 14, 2000 at the Center for Research and Computing in the Arts at the University of California, San Diego. "This dissertation is concerned with the role of the performer in new Western Art Music, specifically in relation to choosing repertoire and formulating these ideas into the public concert setting."--P. vii.

"Cycling" is a programmatic music work for solo bassoon with multiple mixed quartet accompaniment.

abstract: Rhythm is a work for percussion ensemble and narrator. The percussion ensemble includes five percussionists who each play multiple instruments. The narrator recites quotes from the book Meter as Rhythm by Dr. Christopher Hasty. The piece is in six parts with a short introduction (mm. 1-5). The structure is delineated by the quotes from Meter as Rhythm. The narrator describes an aspect of rhythm at the beginning of each section and the quote is sonically realized through the percussion ensemble. This piece experiments with different timbres and rhythmic motives. Timbral variety is achieved through grouping instruments into woods, metals, and membranes and using combinations of those groups to delineate different sections and ideas. The rhythmic motives are based on the numbers 3, 5, and 7, and appear as rhythmic values, phrase lengths, and number of repetitions. The first section states a definition of rhythm and contains all timbres and motives contained within the composition. The piece then explores the relativity of time and is represented by drums changing the speed of their notes. The third section discusses rhythm as repetition and is illustrated by repetitive rhythmic motives. The text then features rhythm as a subjective human experience and is reflected through polyrhythms played between ensemble members. What follows is a description of meter as a temporal measurement that is unchanged by rhythmic activity. By bringing back previous motives, this section reveals that all of the motives work within the same meter. In the final section, the performers play various subdivisions of the beat to show different aspects of proportion by dividing the beat in several ways. / Dissertation/Thesis / Masters Thesis Music 2018

The twentieth century has seen a tremendous growth in the use of the trombone and percussion instruments in chamber music. Stravinsky, in his L'Histoire du Soldat (1917) and Milhaud, in his La Creation du Monde (1927), helped lay the foundation. Two other works, Ionization (1931) by Edgar Varèse and Toccata (1942) by Carlos Chávez are the first of numerous works for percussion ensemble which have since been composed. So many developments of percussion instruments and their music are being made that many consider the twentieth century to be the "Age of Percussion". The trombone family (alto, tenor and bass) has experienced growth in literature and technical advancements but not quite to the degree of the percussion instruments. The development of the trombone choir by Emory Remington at the Eastman School of Music has led to its increased popularity in recent decades. The multiple trombone jazz groups of J. J. Johnson and Kai Winding in the 1950's and Urbie Green in the early 1960's have aided in the development of music written for the trombone. It has only been in the last two decades that music of the genre to be discussed here has been explored. Some of the earliest works that fit this category are Porter D. Henry's Suite for Trombone and Percussion and Vinko Globokar's Vibone for trombone and vibraphone, both of which date from 1963. Since that time, more than 90 works have been composed for one or more trombones and percussion instruments or for small mixed ensembles in which these instruments play a major role. The International Trombone Association and the Percussive Arts Society have done a great deal to advance both the literature and development for the trombone and for percussion. The following document will analyze performance problems involved in a number of representative works from the literature. It will also provide a listing of compositions for trombone and percussion alone or in a chamber music setting of up to five performers.

<p>Toshio Hosokawa. Sen VI. 11'</p><p>Toshi Ichiyanagi. The Source. 12'</p><p>Maki Ishii. Thirteen drums. 13'</p>

Stiffness identification of an impacted constraint is the main issue discussed in this thesis. Primarily, a change of stability (bifurcation) is used to determine the dynamical stiffness of an impacted beam for a piecewise-linear impact oscillator. Detailed one- and two-parameter bifurcation analyses of this impacting system are carried out by means of experiments and numerical methods. Particularly, the two-parameter numerical continuation of the obtained codimension-one bifurcation (period-doubling bifurcation, or fold bifurcation) indicates a strong monotonic correlation between the stiffness of the impacted beam and the frequency at which this bifurcation appears. In addition to the bifurcation techniques, another method for stiffness identification is analysis of impact duration. To accurately detect impact durations from numerical or experimental signals, nonlinear time series methods are utilised. Two impacting systems, including the piecewise-linear impact oscillator and a drillbit-rock vibro-impact system, are studied to demonstrate this proposed method. For either system, the impact duration is relatively constant when the response of oscillator is a period-one one-impact motion, and it is approximated as a half of the natural period of the oscillator-constraint system. When the mass of oscillator is constant, for an impacted constraint with a certain stiffness, the higher the stiffness, the lower the impact duration. This monotonic correlation provides another mechanism to estimate the stiffness of the impacted constraint. Based on the developed two dynamical methods for stiffness identification, a control algorithm for parameter adjustment of the axial vibration for rotary-percussive drilling applications is designed. This control algorithm aims to maintain the optimal drilling state under the varying formations. By this way, the efficiency of rotary-percussive drilling is expected to be promoted.