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.