Evidence of a link between piano and drumming performance practices in western music dates back to at least the mid-nineteenth century. The modern construction of the piano had yet to be fully standardized when percussive techniques were being applied to its keyboard. Since that time, pianists and drummers (especially those involved with the creation of groove-based music) have grown closer and closer, participating in what remains a richly symbiotic relationship. This study examines parallels between piano and drumming performance practices in jazz. In this context, drumming is acknowledged as an important inspiration guiding the expression of rhythm and percussive attack by non-drummers, pianists in particular. Historical connections between pianism and drumming in jazz are addressed through an examination of those legacies that are widely believed to derive from West African drumming, European march and dance traditions, and various aspects of the so-called "Latin tinge" from the Caribbean and South America. Playing techniques are compared in part based on the premise that similarities in musical output flow naturally from congruencies in instrumental architecture. Percussive action unites pianists and drummers, as do shared abilities to create rhythmic layers through the independent functioning of multiple limbs. A discussion of ensemble roles reveals conceptual links, especially with regard to time-keeping, "comping," and mutual approaches to the creation of groove and swing. Transcriptions are employed to illustrate instances of widely adopted drumming-like gestures from the history of jazz with special attention paid to rhythmic counterpoint, complementation, and rudimental sticking patterns used by jazz pianists since the 1960's. Though a statistically small sample, interviews with ten professional jazz pianists support the essential findings of the study. Questions are raised throughout regarding the effectiveness of traditional jazz pedagogy in emphasizing the importance of drumming to non-drummer instrumental praxis.

Evidence of a link between piano and drumming performance practices in western music dates back to at least the mid-nineteenth century. The modern construction of the piano had yet to be fully standardized when percussive techniques were being applied to its keyboard. Since that time, pianists and drummers (especially those involved with the creation of groove-based music) have grown closer and closer, participating in what remains a richly symbiotic relationship. This study examines parallels between piano and drumming performance practices in jazz. In this context, drumming is acknowledged as an important inspiration guiding the expression of rhythm and percussive attack by non-drummers, pianists in particular. Historical connections between pianism and drumming in jazz are addressed through an examination of those legacies that are widely believed to derive from West African drumming, European march and dance traditions, and various aspects of the so-called "Latin tinge" from the Caribbean and South America. Playing techniques are compared in part based on the premise that similarities in musical output flow naturally from congruencies in instrumental architecture. Percussive action unites pianists and drummers, as do shared abilities to create rhythmic layers through the independent functioning of multiple limbs. A discussion of ensemble roles reveals conceptual links, especially with regard to time-keeping, "comping," and mutual approaches to the creation of groove and swing. Transcriptions are employed to illustrate instances of widely adopted drumming-like gestures from the history of jazz with special attention paid to rhythmic counterpoint, complementation, and rudimental sticking patterns used by jazz pianists since the 1960's. Though a statistically small sample, interviews with ten professional jazz pianists support the essential findings of the study. Questions are raised throughout regarding the effectiveness of traditional jazz pedagogy in emphasizing the importance of drumming to non-drummer instrumental praxis.

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One of the techniques used to induce trance state in shamanic ceremonies is monotonous drumming. According to previous EEG research, certain patterns of drumming cause an increase in power of alpha and theta frequencies of the listener. Present study aimed to determine, if suggestion to experience trance state could increase the relative alpha and theta amplitude and the intensity of experienced state. A group of twenty-four subjects participated in the study. Suggestion to experience trance state decreased alpha frequency power during the drumming condition. No other significant effects of suggestion or drumming were found.

Under mitt sista läsår på musikhögskolan har jag fördjupat mig inom open handed drumming. En spelteknik som har krävt att jag som högerhänt trumslagare fått byta till att bli vänsterhänt. För att utveckla denna spelteknik har jag skapat egna övningar och lärt mig avancerade trumkomp som har utmanat mina gränser vad gäller koordination, anslag och teknik. Under processen har jag arbetat med fyra olika låtar, varav en spelades in i en studio med tillhörande video. Min strävan var att bli en ambidexter trumslagare, vilket jag inte blev till fullo, men jag har tack vare detta arbete hittat nya metoder som fört mig närmare det målet. Arbetet har gett mig en förbättrad koordination och teknik, samt nya perspektiv på hur jag kan vara kreativ på trumsetet.

This thesis provides an in-depth account of the Low-Country, ritual, drumming tradition of Sri Lanka. Low-Country drumming is characterized by its expressive and illusive sense of timing which makes it appear to be free of beat, pulse and metre. This makes it special in respect to other drumming cultures of the world. However, the drumming of the Low-Country is marginalized, unaccepted and unexposed. Drawing on original fieldwork from the Western province of Sri Lanka, this study analyses the drumming of three distinct rituals: devol maḍuva, Kalu Kumāra samayama and graha pūjāva of Raigama, the dominant sub-tradition of the Low-Country. The thesis reveals key features of the drumming tradition, some of which are hidden. These features include the musical structure that is beneath the surface of the drumming, timing, embellishment, improvisation and performance practice. It also documents the Low-Country drum, the yak beraya, its construction and relationship to the musician. The thesis addresses some of the changes that are occurring in the contemporary ritual and argues the need for the drumming to be brought out of its ritual context, for its survival in the future. It also documents a collaborative performance between Low-Country ritual performers and musicians from New Zealand.

This project is an investigation of melodic drum-kit practices in popular and contemporary music. The development of melodic drum-kit playing techniques has helped create a more inclusive role for drum-kit players within ensembles and has increased the potential for drum-kit players to present solo elements in performance. The project artefacts of my research are six compositions presented on CD. They demonstrate performance and compositional techniques that encourage a melodic approach to drum-kit performance. My research involved several methodological approaches these included: a) professional practice-based research, b) music composition and transcription, c) interviews with significant musicians familiar with drum-kit melodic practices and d) elements of autoethnography. I refer to particular drum-kit performance techniques and practices such as mirroring, thinking melodically, spatial relationships between drum-kit instruments and ensemble players, as well as, internalising melodic and harmonic ideas and being in the moment. I have shown in my compositional project that melodic elements in drum-kit performance and composition encourage a broader and more inclusive role for drummers in improvised performance. This is evident in the ensemble versions of compositions submitted as part of this study.

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No description available.

Drumming was recorded for 11 of 13 Nearctic stonefly species, representing 4 families. Both male and female signals were obtained from 5 species, and were either 2-way or 3-way communications. Signals were species-specific; those of males and females varied from 3-39 and 1-14 beats/ signal, respectively. Duration of male signals varied from 105-8,016 ms; those of females, except Perlinella drymo (1 beat), varied from 402-1318 ms. Signals among related taxa showed greatest similarities. Duration of male signals of Perlinella drymo became progressively shorter at each of 4 temperatures from 7-29 0C. Females of Perlinella drymo would only repeatedly answer male signals recorded at near their own temperature, and would not repeatedly answer recorded male signals of 8 other species.