The purpose of the current study is to provide students and instructors with a resource to study and teach steelpan through an understanding of the fundamental design and patterns inherent on each instrument. This will be accomplished through an investigation of how an awareness of the symmetrical note layout of the tenor pan, double seconds, triple cellos and six bass can be utilized when learning fundamental music concepts such as scales and chords. Caused by their symmetrical design, the patterns used in steelpan construction interact with the patterns of scales and chords to create commonalities that remain consistent when transposed. When students and teachers are aware of these commonalities, they can be utilized when teaching and learning the instruments. These patterns also inform performance on the instruments, as the commonalities in the transposable patterns lead to recurring stickings. Because of this, the stickings of scales and chords will be discussed throughout the study to determine how the symmetrical design of the instruments can be used to inform stickings. With this study, the author intends to demonstrate the importance of learning the organization of the instrument's note layout, rather than memorizing the location of each note independently. Because of steelpan's cyclical nature, and because the instruments do not conform to a chromatic centric note layout, it can be harder for students to identify the patterns used in steelpan construction. As a result, many novice steelpannists view the note layout of the instruments as a random assortment of notes. The steelpans have been methodically designed, however, and patterns in their note layout do exist. This study should serve as a resource for students and teachers to both acknowledge and understand these patterns.

Steel bands have become more prevalent in U.S. schools since the early 1980's. Through discussions with several of the leading steelpan builders in the United States, it is now estimated that there are over 600 steel bands in U.S. schools and universities. An appealing aspect of these ensembles is that they attract a wide range of students, from accomplished instrumentalists to students with no musical background. Due to their uniqueness in school music programs, steel bands are often extra-curricular activities but are often highly sought after for performances. This case study examines students' motivations to play in steel band (nontraditional music ensembles) including informal music education and learning, pedagogy, curriculum, and repertoire. It was found that students are attracted to the ensemble due to the uniqueness of the instruments, the repertoire, and for the opportunity to be part of a close community. Students value the opportunity for learning music in an informal manner where they are able to have input on the instructional process and what material is performed.

The Caribbean steelpan is a pitched percussion instrument that originated in Trinidad and Tobago during the Second World War. Despite several research initiatives to improve the making of this relatively new instrument, several areas remain unaddressed. This thesis presents new approaches to help improve the making of the instrument. These approaches are situated in the production, vibration and material aspect of the steelpan. A novel sheet forming technology termed Incremental Sheet Forming (ISF) is applied to the production of miniature steelpan dishes. The thickness distribution in the wall of the ISF dishes is compared to the wall thickness distribution in a traditionally formed steelpan dish and a wheeled dish. Unlike traditional forming and wheeling, ISF produces stretching in only a portion of the walls of the formed dishes. Multi-pass ISF is used to extend the stretched zone but this extension is minimal. A break even analysis is also applied to investigate the fiscal viability of ISF application to the production of miniature and full size steelpan dishes. The application of ISF to steelpan making is found to be commercially profitable but could be jeopardised by the tuning stage of the steelpan making process. A preliminary study on the effect of impact on tone stability is conducted on a pair of notes on a fullsize steelpan and detuning is found more likely to occur by repeated impact of the note at its centre. Mode confinement in test-pans is also investigated. ISF is used to produce miniature test-pans with test-notes that are geometrically identical to notes on full size pans. It is possible to confine modes by varying the curvature of the bowl surrounding the test-note. The number of localised modes in the test-note increases as the radius of curvature of the surrounding bowl increases. The natural frequency of the first confined mode in the test-notes is sensitive to material springback in ISF and the mechanism of confinement appears to be due to the change in geometry that occurs between the flat test-note region and the bowl wall. This control of mode confinement may find use in future efforts to completely or partially automate the steelpan making process. Material damping and mechanical properties in low-carbon steel used to produce steelpans are researched. Damping and mechanical properties are extracted from low-carbon steel that is subjected to identical stages to the steelpan production process. Material damping trends suggest that an annealing temperature between 300°C and 400°C would be appropriate for the heat treatment of steelpans. Air-cooled and water-quenched low-carbon specimens exhibit comparable damping trends. Hardness increases in cold formed low-carbon specimens is attributed to strain hardening and not strain ageing. Investigation of damping trends and mechanical properties in ultra low bake-hardenable and interstitial-free steels reveals that a wider range of low-carbon steels may be suitable for steelpan making.

At the first Panorama in 1963, Anthony "Tony" Williams presented an arrangement of Slinger "Mighty Sparrow" Francisco's "Dan Is The Man (In The Van)" that would set the standard for Panoramas to come. As the competition continued arrangers like Bobby Mohammed, Earl Rodney, Jit Samaroo, and many others continued to present new ideas and techniques that became part of what is known as the "Panorama formula." In its current configuration the Panorama formula can be seen as an amalgamation of techniques introduced by past arrangers, but some argue that the formula has become too predictable and that arrangers who present works continuing to push the boundaries of the competition are often not rewarded, and perhaps punished for their efforts. This document will explore, through the history of the competition and the development of past arrangers, how the formulaic procedures of Panorama have developed. In addition, the recent works of arrangers Ray Holman, Liam Teague, and Andy Narell will be examined to see how they have challenged the expectations of the Panorama judges and the steelband community.

No description available.

På Nationaldagen år 1992 utnämndes steelpan till Trinidad och Tobagos nationalinstrument. Världens yngsta akustiska instrument har på några få decennier gjort en klassresa. Syftet med denna uppsats är att utifrån de gällande teorierna om subkultur analysera steelbandkulturens ursprung och dess utveckling från en gräsrotskultur till en representant för en hel nation. Vilka faktorer bidrog till subkulturens uppkomst? Hur var det möjligt för steelbandkulturen att inta en så framträdande position i ett multikulturellt samhälle där den europeiska kulturen värdesattes högst av alla? Och vad händer med en subkultur som blir accepterad av resten av samhället?

Cette étude porte sur le steeldrum, aussi appelé steelpan, percussion mélodique de Trinidad et Tobago, fabriquée à partir de bidons métalliques dont une des faces subit un ensemble de déformations irréversibles afin d'obtenir une cuve principale à l'intérieur de laquelle sont façonnées les différentes notes de l'instrument. Cette thèse s'organise autour de deux axes. D'une part les processus de fabrication sont étudiés afin de mieux comprendre le travail du facteur et de proposer une modélisation de la première étape de fabrication. D'autre part, des études vibratoires sont menées sur l'instrument fini, pour comprendre la dynamique complexe responsable de son timbre. La première partie rend compte de l'évolution des caractéristiques vibratoires au cours de la fabrication. On remarque une forte localisation vibratoire au moment de la création des notes, des évolutions marquées des amortissements et des fréquences propres lors du chauffage, et des relations harmoniques après l'accordage final. La seconde partie se concentre sur la première étape de fabrication au cours de laquelle le haut du bidon est martelé pour obtenir une calotte sphérique concave. Ce processus de plasticité est modélisé analytiquement sous les hypothèses de von Karman par une structure mince soumise à des contraintes initiales. L'influence du changement géométrique et celle de l'état de contraintes résiduelles sont alors quantifiées sur les paramètres dynamiques de la structure dans son nouvel état d'équilibre. Enfin la dernière partie s'intéresse aux vibrations de l'instrument terminé qui présente un comportement dynamique caractéristique des systèmes non linéaires géométriques. En mode de jeu usuel, des échanges d'énergie entre les modes sont clairement audibles. Cette richesse de timbre provient des résonances internes dues à l'accordage, si bien que des couplages complexes sont mesurés pour des amplitudes vibratoires très faibles. Des modèles originaux de résonances internes sont proposés.

No description available.