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The percussion ensemble is still a relatively young ensemble, with the first works by Edgard Varèse and Amadeo Roldan composed in the first third of the 20th century. Because of this youth, it is important to examine significant works for the percussion ensemble which establish themselves as staples to the repertoire. Christopher Rouse, a Pulitzer-Prize winning composer has written three such works, Ogoun Badagris (1976), Ku-Ka-Ilimoku (1978), and Bonham (1989). This study will closely examine each of these works, providing background, detailed analysis, and performance practice for each of these works.

Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.

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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.

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[ES] La tesis doctoral que a continuación se expone, presenta una investigación de índole artística y didáctica bajo la propuesta de realización de un estudio dirigido a los alumnos que cursan estudios superiores de percusión. Esta investigación se centra en la práctica pedagógica de los recursos musicales, tanto técnicos como interpretativos, a partir de las primeras composiciones escritas para ensemble de percusión. Con la introducción de una temática totalmente novedosa en cuanto al objeto de estudio, esta tesis se ocupa principalmente de la aplicación de estudios exploratorios. Estudios que muestran inicialmente la situación actual del tema tratado y posteriormente conducen al logro de aspectos teóricos y documentales a través de la implementación y comparación de nuevas propuestas metodológicas experimentales. La adaptación e incorporación de estas aportaciones didácticas contribuye a la apertura de nuevos campos de investigación dentro de la didáctica musical, así como al desarrollo de una innovación metodológica necesaria que haga frente al todavía muy extendido uso de la metodología tradicional dentro de los estudios musicales superiores. Asimismo, la redacción de esta tesis doctoral secunda la creación de nuevo conocimiento científico que conforma, transmite y optimiza la difusión del proceso de enseñanza-aprendizaje de los estudios superiores de música, convirtiéndose en una herramienta de renovación educativa que interviene en la ampliación de la producción investigadora de los centros de enseñanza superior musical. / [CA] La tesi doctoral que a continuació s'exposa presenta una investigació d'índole artística i didàctica, sota la proposta de realització d'un estudi dirigit als alumnes que cursen estudis superiors de percussió. Aquesta investigació es centra en la pràctica pedagògica dels recursos musicals, tant tècnics com interpretatius, a partir de les primeres composicions escrites per a ensemble de percussió. Amb la introducció d'una temàtica totalment nova pel que fa a l'objecte d'estudi, aquesta tesi s'ocupa principalment de l'aplicació d'estudis exploratoris. Estudis que mostren inicialment la situació actual del tema tractat i posteriorment condueixen a la consecució d'aspectes teòrics i documentals a través de la implementació i comparació de noves propostes metodològiques experimentals. L'adaptació i incorporació d'aquestes aportacions didàctiques contribueix a l'obertura de nous camps d'investigació dins de la didàctica musical, així com al desenvolupament d'una innovació metodològica necessària que faça front a l'encara molt estès ús de la metodologia tradicional dins els estudis musicals superiors. Tanmateix, la redacció d'aquesta tesi doctoral secunda la creació de nou coneixement científic que conforma, transmet i optimitza la difusió del procés d'ensenyament-aprenentatge dels estudis superiors de música, convertint-se en una eina de renovació educativa que intervé en l'ampliació de la producció investigadora dels centres d'ensenyament superior musical. / [EN] The doctoral thesis that is exposed below, presents research on artistic and didactic proposal of carrying out a study aimed at students who are pursuing higher percussion studies focused on the didactic practice of musical resources, both technical and interpretive, from the first compositions written for percussion ensemble. By introducing a totally new object of study, this research deals mainly with the application of exploratory studies. These studies initially show the current situation of the topic and subsequently lead to the achievement of theoretical and documentary aspects through the implementation and comparison of new experimental methodological proposals. The adaptation and incorporation of these new didactic contributions provides new research fields within music didactics, as well as to the development of a necessary methodological innovation that addresses the still very widespread use of traditional methodology within higher musical studies. In addition, this doctoral thesis contributes to the creation of new scientific knowledge that shapes, conveys and optimizes the dissemination of the teaching-learning process of higher music studies, becoming a tool for educational renewal that intervenes in the expansion of research at higher music schools. / Marzal Raga, LM. (2022). Aprendizaje cooperativo y enseñanza performativa para ensemble de percusión en los estudios superiores de música de la Comunidad Valenciana [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/185776 / TESIS

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