This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.

Five Seasons is a musical work for flute and percussion. The flutist alternately performs on the C flute with a B foot, alto flute, piccolo, and bass flute in each movement. The percussionist also plays different instruments in each movement: the vibraphone for Mid-Summer; the xylophone for Fall; the woodblock, temple block, and cowbells for Spring; the glockenspiel for Summer; and the marimba for Winter. The five movements of this work - Mid-Summer, Fall, Spring, Summer, and Winter - are based on a combination of Eastern performing practices with Western instruments. The musical characteristics are based on the techniques of fifteenth-century (e.g., isorhythmic technique) and twentieth-century Western music.

The repertoire for trombone and percussion has grown in popularity since the later 1980s. There are currently more than 110 pieces written for the ensemble. This project follows the commissioning and collaboration of Dr. Blake Tyson, Professor of Percussion at the University of Central Arkansas and well known percussion composer, in the creation of a new piece for trombone and percussion. The project also created a survey of works for trombone and percussion duet that includes 32 works. The survey includes details such as specific percussion instrumentation range, tessitura, grade level, publisher, and a description of each piece.

The purpose of this pilot study was to examine the benefit of offering a percussion ensemble class in secondary public schools. I looked at two elements of music education: playing time and relevant instruction. The research questions focused on the difference in playing time and relevant instruction between percussionists in the concert band and percussionists in the percussion ensemble, as well as differences between the concert band subgroups (brass, woodwind, percussion). 6 separate instrumental groups were observed: 4 concert bands and 2 percussion ensembles (N=6). Students were randomly selected from each instrument subgroup (brass, woodwind, percussion, percussion ensemble) for observation. A mixed model ANOVA was used to compare the playing time per hour of each instrument subgroup. A second mixed model ANOVA was used to compare the relevant instruction received per hour of each instrument subgroup. As anticipated, the concert band percussionists experienced significantly less playing time and relevant instruction than both the brass and woodwind subgroups. The percussion ensemble subgroup did not experience a significant difference in either playing time or relevant instruction from the concert band percussionstudents. However, informal observations of the rehearsals indicated a difference in the scope and depth of the playing time and instruction experienced by these two subgroups. Implications from these observations are also discussed.

Master of Music / Department of Music / Kurt R. Gartner / This is a report intended to assist in educating musicians planning to perform or study any number of the following compositions: Black Sphinx by Leander Kaiser, To the Gods of Rhythm by Nebojsa Jovan Zivkovic, Regresar a Nuestra by Stephanie Sasscer, Wave, How Insensitive, Agua de Beber by A.C. Jobim, Concerto for Vibraphone, movement I by Emmanuel Sejourne, 6 & 8 by Tobias Brostrom, Suomineito by Nebojsa Jovan Zivkovic, and Convergences by Steve Fitch. Each composition has been analyzed in accordance with Jan LaRue’s method of style analysis. For some compositions, analysis of harmony has been omitted. For all compositions, the author has analyzed essential technical and interpretive performance considerations according to LaRue’s analytical method. LaRue’s method includes analysis of Sound, Harmony, Melody, Rhythm, Growth and Performance.

In the Senegalese musical tradition, there is a big number of cultural expressions and publicevents where the style, as well as the vibrant creativity of the Sabar percussion isdemonstrated. But if there is a moment on which this idea becomes most clear, this would bethe Tandibéer.The expressive and stylistic character of the Sabar drum playing is virtually exposed in theTandibéer where drummers and dancers have the opportunity to show their creative strengthand personality / <p><strong>Concert Program and Specifications</strong></p><p>”Music Approaching Differences”</p><p>Davide Rodrigues ExamensKonsert</p><p><strong>Introduction</strong></p><p>with Sabar Drum ”Baye Faal”(Coming on stage…)Concert starts with tradicional religious Baye Fall chant and drumming from Senegal on which thesinging and the percussion have a close interaction.</p><p>Yirime Gueye- Nder drum &amp; Thiou</p><p>lDavide Rodrigues- Nder drum &amp; Baala</p><p>Dawcoumba Diop- Thioul</p><p>Abdulaye Diop- Tungunee &amp; Baye Fall Chant</p><p>Nikolas Viisanen- Mbenguembengue</p><p><strong>Davide´s Percussion Solo</strong></p><p><strong></strong>On this solo totally improvised, an overview of the concert´s rhythmical landscape isdemonstrated. A lot of dynamics are explored in this self chosen set of sounds.</p><p>”<strong>Abrigo</strong>”</p><p>Using a small theme composed by the accordionist Isak Bergstrom as inspiration, this pieceexplores the interesting dynamic between the Accordion and the Drum with a short vocal choirintro with swedish Kulning.</p><p>Davide- Perc. &amp; Vox</p><p>Isak Bergstrom- Accordion &amp; Vox</p><p>Malin Gunnarsson Thunell- Kulning</p><p><strong>Malin &amp; Davide</strong></p><p>Voice and Drums are two of the most intuitive instruments and this duo explores this basicaspect of the music. A mix of musical language and texture springs up a very melodic piecewhere both interpreters find a good balance between this two intruments.</p><p>Malin Gunnarsson- Vox</p><p>Davide- Perc. &amp; Vox</p><p>”<strong>Zarabatana</strong>”</p><p>For long time Johannes Hellman (Velvlira) and Davide Rodrigues (Percussion) were aiming towork together and put in practice this interesting duo. This song ”Zarabatana” makes apowerful statement on that. Not only with a lot of vocal percussion but also with the melodicand very rhythmical intepretation from Johannes velvlira.</p><p>Johannes Hellman- VelvLira</p><p>Davide- Perc. &amp; Vox</p><p>”<strong>No TransversAu</strong>”</p><p>In this piece the music intends to reveal the great contrast between a simple and pentatonicmelody and the full expressed free improvisation.</p><p>Elias Frigård- Sax Soprano</p><p>Guto Lucena- Sax Baritono</p><p>Davide- Perc.</p><p>”<strong>Deslize</strong>”This piece started as a duo with bass (Rickard Jokela) and percussion and evolved naturally toa sextet with a interesting sound palette. The clear tipical senegalese groove supports an openspreaded melody that “slides” through the piece.</p><p>Malin Gunnarsson- Vox</p><p>David Lombardi- Violin</p><p>Elias Frigård- Sax Soprano</p><p>Rickard Jokela- Acoustik Bass</p><p>Filipe Raposo- Piano</p><p>Davide- Perc.</p><p>”<strong>Sagaz</strong>”A challenging theme that also started as a duo with the violinist David Lombardi became thisoctet with Strings, Piano and Sax Soprano. On this piece, inspired on the music from theswedish group Väsen, the Senegalese grooves and the ”SvenskSväng” are brought together ona very much arranged song.</p><p>Malin Gunnarsson- Vox</p><p>Davide Lombardi- Violin 1</p><p>Anna Karlsson- Violin 2</p><p>Johanna Nolgård- Viola</p><p>Elias Frigård- Sax Soprano</p><p>Rickard Jokela- Acoustik Bas</p><p>Filipe Raposo- Piano</p><p>Davide- Perc. &amp; Vox</p><p>"<strong>Navegar Navega</strong>r”(Fausto)</p><p>A version of the portuguese song ”Navegar Navegar” from Fausto with a percussion arrangementon the Sabar and tradicional portuguese drums.</p><p>Malin Gunnarsson- Vox</p><p>Karl Tirén- Mandolin</p><p>Johan Nilsson- Nylon Guitar</p><p>Isak Bergstrom- Accordion</p><p>Rickard Jokela- Acoustik Bass</p><p>Filipe Raposo- Piano</p><p>Guilherme Piedade- Perc.</p><p>Davide- Perc. &amp; Vox</p><p>"<strong>Tandibeer &amp; Dance"</strong></p><p>A small but yet intense taste of the tradicional senegalese ”Tandibéer”Some of the most popular rhythms are performed for the dance with the complex and intrincatesolo language of the Sabar drum aswell.</p><p>Yirime Gueye- Nder drum &amp; Thioul</p><p>Davide Rodrigues- Nder drum &amp; Baala</p><p>Dawcoumba Diop- Thioul</p><p>Abbe Diop- Tungunee</p><p>Nikolas Viisanen- Mbengue mbengue</p><p>____________________________________________________________________________Davide Rodrigues</p>

Traumatic brain injury is a leading cause of death and disability in the United States. The injury is often composed of two processes: the primary injury, which can involve irreversible loss of tissue, and the secondary injury, which involves a cascade of reactive processes such as excitotoxicity that occur in the hours and days after the initial insult. Excitotoxic stimulation of neuronal circuits can lead to cellular dysfunction and modulation of neuronal sensitivity. One mechanism of dysfunction involves the calcium-regulated phosphatase, calcineurin. Calcineurin has been shown to be involved in the modulation of the neuronal post-synaptic structures known as dendritic spines. One means by which CaN regulates spine structure is through the dephosphorylation of the down-stream effector proteins such as, cofilin. This study tracks the changes in CaN activity levels as well as the phosphorylation state of cofilin in the cortex and hippocampus in each hemisphere of the laterally injured brain. We report that the lateral brain injury causes an increase in CaN activity in the hippocampus with a corresponding dephosphorylation of cofilin. Trauma-induced changes in CaN follow a slightly different time course in cortical tissue, as there is a biphasic modulation of cofilin that begins with an increased phosphorylation which is followed by an extended dephosphorylation. This dephosphorylation is partially prevented by a single post-injury injection of FK506, a calcineurin inhibitor. Since dephosphorylation of cofilin is a rate-limiting step in dendritic spine collapse, the results of this study demonstrate a potential cellular mechanism through which traumatic brain injury results in altered neuronal function.

Master of Music / Department of Music / Kurt Gartner / This is a report for anyone playing or teaching any one of the following pieces: Concerto for Vibraphone and Orchestra by Ney Rosauro, Surface Tension by Dave Hollinden, Urban Sketches for Percussion Trio by Lon W. Chaffin, Take Five by Paul Desmond, or DT Supreme by Austin Barnes. The repertoire is analyzed by the method given in Jan Larue’s book Guidelines for Style and Analysis. The report includes interpretive decisions, technical considerations, harmonic analysis, and form.

O objetivo deste trabalho é ajudar a solucionar alguns dos problemas interpretativos encontrados nas partes de percussão da música sinfônica brasileira. Rica em timbres e ritmos, essas partes podem trazer dúvidas que vão desde a nomenclatura dos instrumentos a assuntos editoriais ou ainda de natureza técnica. Foi selecionado um número delimitado de obras de diferentes compositores, especialmente apropriadas para um profundo estudo dessas dificuldades. Quando necessário, os manuscritos originais foram consultados, assim como fontes que tiveram acesso direto aos compositores, na procura de suas reais intenções e assim ajudar a esclarecer as dúvidas surgidas. Esta análise, associada à experiência na execução e gravação dessas e outras obras, ajudaram a levar a conclusões importantes quanto ao uso e notação do vasto arsenal dos instrumentos de percussão convencionais ou não que inclui a revisão de partes existentes e a solução de problemas de nomenclatura e performance encontrados em obras de Antônio Carlos Gomes, Mozart Camargo Guarnieri, César Guerra-Peixe, Francisco Mignone, Claudio Santoro, Rubens Ricciardi e Heitor Villa-Lobos. / The objective of this dissertation is to help solve some of the interpretation problems which arise in the percussion parts of Brazilian symphonic music. Rich in timbre and rhythm, these parts may cause doubts which stem from the nomenclature of the instruments as well as editorial or technical issues. A number of works by different composers were selected that are especially suited for a thorough examination of these difficulties. When necessary the original manuscripts, as well as the sources which came directly from the composers, were consulted, in order to clarify the real intentions behind these usages and to help solve the problems that arise. This analysis, associated with the experience of playing and recording these and other pieces, has helped to arrive at important conclusions which regard the use and notation of the vast arsenal of percussion instruments - both common and uncommon - which include the revision of existing parts and the solution of nomenclature and performance practice problems found in works by Antônio Carlos Gomes, Mozart Camargo Guarnieri, César Guerra-Peixe, Franciso Mignone, Claudio Santoro, Rubens Ricciardi and Heitor Villa-Lobos.

Esta tese tem como tema a educação musical a distância. Tomando como ponto de partida o atual contexto de música e tecnologia, com as facilidades e problemáticas trazidas pelas amplas possibilidades comunicacionais do mundo moderno, o assunto é abordado tendo em vista a formação de professores de música. O objetivo desse estudo é investigar a viabilidade do ensino a distância em uma disciplina de percussão, dentro de um programa de formação de educadores musicais. Para a consecução desse objetivo, a disciplina Percussão foi desenvolvida e ministrada no âmbito do curso de Licenciatura em Educação Musical da UAB UFSCar, oferecido na modalidade a distância. Tal curso é resultado de uma parceria da Universidade Federal de São Carlos com a Universidade Aberta do Brasil, um projeto do Ministério da Educação do Governo Federal, visando uma ampliação das oportunidades de educação superior no país. Na exposição da pesquisa, são detalhados os processos de planejamento, produção e oferecimento da disciplina, destacando a escolha de conteúdos, a elaboração de materiais pedagógicos, os sistemas de avaliação e controle de freqüência, e algumas das situações vivenciadas durante sua primeira oferta, no primeiro semestre de 2009. O foco do trabalho é inicialmente dirigido para o desenvolvimento da educação a distância e das ferramentas que tornam possíveis os processos educacionais de música nessa área. São levantadas questões sobre a formatação de cursos formais de música e sobre aprendizagens informais, observando exemplos dos dois casos no universo da Internet. Considerando tópicos que lidam com recursos educacionais abertos, comunidades virtuais, compartilhamento de arquivos online, administração de conteúdos e atividades em ambientes virtuais de aprendizagem, e comunicações online com tutores e alunos, foi realizada a exploração de um vasto campo, encontrado em crescimento vertiginoso e constante modificação. Dentro desse cenário, o surgimento do curso de Licenciatura em Educação Musical da UAB UFSCar representa um marco histórico, como uma das primeiras experiências acadêmicas a distância, em ampla escala, a contribuir para a formação de professores de música em instituições brasileiras. Ao aproximar o olhar desse projeto, a percussão serviu como laboratório para uma investigação de questões relacionadas ao ensino de instrumentos musicais, com seus desafios particulares que, tradicionalmente, foram enfrentados em situações face a face, em que professor e alunos dividem um mesmo espaço, presencialmente. A pesquisa busca avanços no sentido de que a educação musical possa utilizar plenamente as possibilidades que a educação a distância oferece, consolidando a interseção dessas duas áreas como prática social significativa no Brasil. / The goal of this thesis is to produce a study on music distance education. Taking the current scenario of music and technology as a starting point, with all the facilities and problems arose by the vast array of communicational possibilities of the modern world, this theme is developed having in sight the formation of music teachers. For such task, as part of the work the discipline Percussion was chosen as an object of analysis, after being created and developed within the course of Music Education at the UAB UFSCar system, offered through distance education. This system results from a partnership between the Federal University of Sao Carlos and the Brazilian Open University, a project of the Ministry of Education of Brazil, aiming to increase opportunities for higher education in this country. At the exposition of the research, processes for the planning, preparing and offering of the discipline are detailed, showing contents chosen, elaboration of pedagogical materials, evaluation and frequency reports, and some of the situations experienced during its first offering, on the first semester of 2009. The focus of the work is initially set on distance education and on the tools that enable educational processes of music to occur within this area. Questions raised include formal programs of music and informal learning, observing examples for both cases on the Internet. Considering topics that deal with open educational resources, virtual communities, online file sharing, virtual learning environments, and online communications with tutors and students, a huge field was explored, one that is growing fast and constantly changing. As part of this context, the appearance of the course of Music Education at the Federal University of Sao Carlos sets a historic benchmark, being among the first academic experiences with distance education, in large scale, to contribute to the formation of music teachers in Brazilian institutions. Taking a closer look at this project, the discipline percussion served as a laboratory to investigate issues related to the teaching of musical instruments, with its own particular challenges, traditionally taken in face to face situations, when teacher and student share the same physical space. The research seeks to advance towards a music education that utilizes fully the possibilities that distance education offers, consolidating the intersection of these two areas as a significant social practice in Brazil.