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This dissertation presents an analysis of Akrodha (1998), a multiple percussion solo in two movements, composed by Kevin Volans. The analysis is focused on the motivic content and subsequent iterations written within the tempos that provide the structural form of the piece. The structural tempos are supported by the presence of various motifs that serve as the tempos' characteristic traits, thereby giving the tempos more tangibility. As the work develops, these motifs reappear either as note-for-note reiterations or as variations that still maintain the unique qualities of the motifs. For comparison, similar analyses of Mr. Volans' other multiple percussion solos, She Who Sleeps with a Small Blanket (1985) and Asanga (1997), are also presented to further explore Mr. Volans' use of motifs as they relate to structural tempos. In addition, a comprehensive performance practice of Akrodha is presented based on a synthesis of considerations and methods from individuals involved in the piece's development and early performances. These include Dr. Volans himself, Jonny Axelsson (for whom Akrodha was written), and Robyn Schulkowsky (for whom She Who Sleeps with a Small Blanket and Asanga were written), as well as the author's personal experiences. This dissertation provides a deeper understanding of Akrodha for the scholar and provides performance guidance for the performer to enhance the ability to replicate the musical spirit of Kevin Volans' compositional intentions.

Jonathan Leshnoff is one today's foremost contemporary American composers. His percussion compositions are significant compositions to the percussion solo, chamber, and concerto repertoire. This study is a tonal analysis on his marimba solo, Run (2003), with comparative analyses on his percussion chamber work, …without a chance (2002), and Concerto for Two Percussionists and Orchestra (2011).

Syftet med denna studie är att få insikt kvinnliga slagverkslärares syn på villkor för kvinnliga slagverkselevers musicerande. Studien genomförs utifrån genusteorier och med utgångspunkt i ett socialkonstruktivistiskt perspektiv. Datamaterialet samlades in genom sex semistrukturerade kvalitativa intervjuer, varav en fungerade som pilotintervju. Intervjuerna transkriberades och därefter gjordes en tematisk analys av materialet. Resultatet visar att de intervjuade lärarna förespråkar vikten av kvinnliga förebilder och deras representation i media. Utöver kvinnor lyfts även familjemedlemmar fram som förebilder, vilka potentiellt kan ha inverkan på elevernas instrumentval och fortsatta musicerande. Enligt lärarna i föreliggande studie ställs slagverkare inför olika typer av svårigheter, vilka yttrar sig på olika vis, beroende på om de är tjejer eller killar. Prestationskrav och sociala jargonger är exempel på detta / The main purpose of this study is to examine female percussion teachers view on the challenges of being a female percussion student. The theoretical basis of the study is gender theories and social constructionism. Data was collected from six semi-structured interviews whereof one was used as a pilot interview. The interviews were transcribed and thereafter thematic analysis was used to examine the data. The results show that the female teachers all advocate the importance of female role models and the way they are depicted in the media. Family members are also highlighted as important and influential role models concerning the pupils’ choice of instrument or continued musicing. The teachers in this study are of the opinon that percussionists, depending on their gender, face different challenges. As an example, they mention performance anxiety and social tendencies.

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No. of bitstreams: 7 Dissertação - Lúcio Silva Pereira - 2014.pdf: 1594411 bytes, checksum: 5cbd4ef5a98c0dfa848284654f9329fb (MD5) 01 Faixa 1.wma: 1648786 bytes, checksum: a5b2dee254892b3222580dc1394d067b (MD5) 02 Faixa 2.wma: 14664514 bytes, checksum: 4e9c32ef525370b2609b68d626986f4b (MD5) 03 Faixa 3.wma: 5252314 bytes, checksum: e0216acc499eba6d07ed0c4bfc454eaa (MD5) 04 Faixa 4.wma: 8037130 bytes, checksum: 28fc63e6d83b37db8ba0a5f3ab21d02a (MD5) 05 Faixa 5.wma: 8246290 bytes, checksum: e61b3d99b32574e7e07bc37cd5228662 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) 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.

Cette étude expose les résultats d’une analyse technologique menée pour la première fois sur trois séries lithiques (Tamar Hat, Rassel, Columnata) attribuées à l’Ibéromaurusien de l’Algérie couvrant une phase ancienne attestée à Tamar Hat (20 600 ± 500 BP) et une phase récente à Columnata (10 800 ± 425 BP). L’analyse technologique a mis en évidence une variabilité, qui semble davantage s’affirmer vers la phase récente, au niveau des comportements techniques adoptés par les populations de chacun des sites. La prise en compte des stratégies d’approvisionnement des matières premières, des méthodes et techniques appliquées dans le débitage, ainsi que la transformation des supports en outillage et leur abandon a permis de cerner la variabilité observée en terme de comportements techniques inhérents aux populations de chacun des gisements étudiés. Ainsi, la variabilité diachronique, déjà observée dans les études typologiques précédentes, est interprétée par des conceptions différentes dans la réalisation des schémas opératoires de production lithique et à des activités cynégétiques et domestiques divergentes liées à des contraintes imposées par des contextes topographiques et paléoenvironnementaux variant de la phase ancienne à la phase récente. / This study exposes the results of a technological analysis led for the first time on three lithic assemblages (Tamar Hat, Rassel, Columnata) attributed to Iberomaurusien of Algeria covering the old phase attested at Tamar Hat (20 600 ± 500 BP) and a recent phase at Columnata (10 800 ± 425 BP). The technological analysis brought to light a variability which more seems to assert itself towards the recent phase related to the technical behaviors adopted by the populations of each of the sites. The consideration of the raw material procurement strategies, methods and techniques applied in the debitage as well as the finishing of the tools and there discard allowed to define the observed variability in term of technical behaviors inherent to the populations of each of the studied sites. So, the diachronic variability, already observed in the previous typological studies, is interpreted by different conceptions in the realization of the “chaine opératoire” of lithic production and in divergent hunting and domestic activities linked to imperative topographic and paleoenvironnemental constraints varying from the old to the recent phase.

Syftet med föreliggande studie är att ta reda på hur arbetssätt och övningar kopplade till språk och kropp kan bidra till förståelse och känsla för noterad rytm hos elever i årskurs 4 till 6, plus hur eleverna reflekterar över sin förståelse. Undersökningen har ett aktionsforskande angreppssätt och görs ur ett elevperspektiv. De vetenskapliga perspektiv aktionen tar fäste vid är ett socialsemiotiskt multimodalt perspektiv och det närbesläktade perspektivet design för lärande. I dessa teorier är teckensystem, samspel och meningsskapande centralt. I aktionens genomförande ingick ett förberedande möte med inblandade parter och en lektion där informanterna tog del av rytmövningar med ’rytmlappar’ vilka interagerades med paralleller till språk och body percussion. Informanterna intervjuades och fick reflektera/samtala kring deras upplevelser av övningarna. I aktionen har undersökningsledaren även rollen som lärare samt utvecklat de övningar aktionen kretsar kring utifrån inspiration från den egna praktiken. Metoder som användes för att kunna dokumentera och analysera empirin var videoinspelning/observation, en kvalitativ semistrukturerad intervju och även loggbok för planering, minnesanteckning och reflektion. Resultatet visar på att rytmförståelse synliggörs genom dels tankesätt som gör noterna förståeliga kopplat till ett traditionellt teoretiskt tänk, dels att sammanhang och involverandet av olika semiotiska resurser gynnar förståelseutvecklingen. En känsla av sammanhang kan komma inifrån aktionen eller utifrån elevernas tidigare erfarenheter. Med semiotiska resurser menas här främst de olika sinnen som får avgörande effekt på lärandet; det auditiva, visuella och kinestetiska sinnet. Även det taktila sinnet synliggörs i aktionen, dock som en effekt något skild från de andra. Resultaten kopplas även samman som i ett kretslopp.

Zvklus (1959) by Karlheinz Stockhausen and Duettino Concertante (1966) by Ingolf Dahl represent two of the most significant percussion compositions that present the percussionist as soloist. The performer of these works, either unaccompanied or accompanied by a non-percussion instrument, is featured as executant, interpreter, and improvisor. They are regarded as classics in the medium of multiple percussion because of their frequency of performance and their profound effect on notation, musical composition, and the technical expectations of the percussionist. This paper examines these compositions and their historical significance to both percussion literature and the percussionist. Each of these compositions is analzyed by examining instrumentation, compositional procedures, and performance problems. Finally, the notational procedures and role of the performer in these compositions are compared. A discussion of the development of the percussion batterie, percussion ensemble, and the important early solo multiple percussion compositions provides historical perspective for these compositions. This perspective is enhanced by consideration of biography, influences, and stylistic development of each composer.

Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.