Every percussionist is faced with many challenges in their studies and their careers.  In this paper I hope to shed light on what kind of work goes into preparing, practising and performing a large solo percussion piece and share some of my personal experience with solo percussion music. This is done by choosing a piece from the repertoire and documenting what processes and methods are used from the time a piece has been chosen until it is ready for performance. The subject of this thesis is Rebonds b by Iannis Xenakis for solo percussion. The result is a blueprint that can be useful for young percussionists when they are faced with a large piece from the repertoire and guidelines for what to do when faced with challenges. / <p>Iannis Xenakis - Rebonds b</p><p>Keiko Abe - Wind Sketch</p><p>George Hamilton Green - Valse Brilliante (arr. Bob Becker)</p><p>Jaques Delecluse - Etude no. 29 for timpani</p><p>Jaques Delecluse - Etude no. 6 for snare drum</p><p>Jaques Delecluse - Test Claire</p><p>Mitchell Peters - Etude no. 3 from Hard Times</p><p>Hanz Kruger - Etude no. 45 for timpani</p>

Ett projekt om hur området framför Münchenbryggeriet på Söder Mälarstrand kan göras om från en trafikplats till ett kulturdistrikt. Stockholm är i stort behov av konsertlokaler och andra kulturscener eftersom de senaste åren har inneburit stängning av många scener. Projektet innebär att konsertlokaler, restauranger, dansytor, utomhusscener mm placeras på "Kulturkajen", området på Söder Mälarstrand framför Münchenbryggeriet. Dessutom ändras markbeläggningen så att gående och cyklister prioriteras framför bilar. Både denna markbeläggnings mönster samt byggnadernas gestaltning inspireras av Iannis Xenakis musikstycke Pithoprakta. Detta musikstycke har inga vanliga noter utan istället grafiska noter, och denna grafik ger utformandet och designen av Kulturkajen. / A project about transforming the area in front of Münchenbryggeriet on Söder Mälarstrand into a cultural district. Stockholm needs more concert venues since the past years have meant several venues had to close down. The buildings added on this "Kulturkajen" as well as the ground pattern and ground material in the area are designed by inspiration of Pithoprakta, a musical piece by Iannis Xenakis. The graphical score of this musical piece is the base for the design of the buildings and the pattern of the ground.

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Made available in DSpace on 2016-03-15T19:42:02Z (GMT). No. of bitstreams: 1 Nicolau Andre Campaner Centola.pdf: 3056649 bytes, checksum: 2b2e10d2ea7c0b940358d3f34b42364a (MD5) Previous issue date: 2011-02-28 / Fundo Mackenzie de Pesquisa / The purpose of this study is to analyze the installation Poème Électronique, designed by Edgard Varese, Iannis Xenakis and Le Corbusier for the Philips World's Fair in Brussels in 1958, from three dimensions: architecture, sound and image. The project was seen by more than two million people and has enabled new ways of multimediatic use of the concepts of composition, performance and reception, working dimensions of sound, image, light and architecture in a project that brought together art and technology / A proposta deste trabalho é analisar a instalação Poème Électronique, concebida por Edgard Varèse, Iannis Xenakis e Le Corbusier para a Philips na Feira Mundial de Bruxelas em 1958, a partir de três dimensões: arquitetura, som e imagem. O projeto foi visto por mais de dois milhões de pessoas e permitiu novas maneiras de utilizar de forma multimidiática os conceitos de composição, performance e recepção, trabalhando as dimensões de som, imagem, luz e arquitetura em um projeto que uniu arte e tecnologia

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The relationship between music and mathematics has been subjected to debate for centuries. There are two schools of thought with the one viewpoint holding that the relationship between mathematics, which is conceived as an abstract and cold discipline, compared to music, which is rich with emotion, must be very limited. Arguments for this view draws, for example, on recent research which indicates that musical talent is not inherently linked to mathematical capability. On the other pole of the debate is the belief that although music and mathematics contribute to different parts of society, there is a very important inter-relationship between the two fields. Of great interest to the latter is the Greek composer Iannis Xenakis whose musical aesthetics incorporates this philosophy. As composer, Xenakis used mathematical theories as basis for his musical works. He not only incorporated well known mathematical principles such as the Golden Section into his compositions but went further and, for instance, utilized Boolean Algebra, Probability theory and Stochastic processes in his music. His composition method based on these mathematical principles became known under the term Stochastic music and forms the focus of this thesis. The research project concentrates on the early part of Xenakis’ life in order to provide insight into the development of his composition methods. The mathematical principles at the centre of his stochastic compositions receive specific rationalisation. In doing so, the most significant probability distributions (Linear, Exponential, Poisson and Normal distribution) are defined in terms of their properties and Xenakis’ use of them. The application of these distributions is considered by looking at the early works Metastaseis (in which Xenakis confronted most of his musical problems and which formed the basis for his musical style) and Achorripsis (where he fully developed their implementation). An in-depth examination of the construction of Achorripsis is performed while scrutinizing Xenakis’ calculations. Specific attention is drawn to alterations and adjustments made to the calculations. His implementation of them into the final score is furthermore examined and it is shown where he deviated between the calculations and score. The thesis concludes by considering the extent and significance of the adjustments made by the composer in the name of artistic freedom.

This thesis focuses on the two selected works of the architect/engineer/composer Iannis Xenakis (1922-2001) / Philips Pavilion (1956-58) and Le Diatope (1978). It places these works at the intersection of architecture and music by showing how they combine spatial, musical and visual performances. Accordingly, it discusses them as exceptional twentieth-century examples of Gesamtkunstwerk / &ldquo / total work of art.&rdquo

Thesis (Ph. D.)--University of California, San Diego, 2005. / An examination of the development of performance practice developed in the relationships between performers and composers, with emphasis on three works: Psappha by Iannis Xenakis, Wave/s by Thomas DeLio, and Attitudes--assumptions shattered by Derek Keller. Vita. Includes tape cassette (digital ; 2 7//8 x 2 1/8 in., 3/16 in. tape) with recording of one of the works discussed.

Orientador: Jonatas Manzolli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T15:30:27Z (GMT). No. of bitstreams: 1 Carrilho_FrederickdeJesus_M.pdf: 3673415 bytes, checksum: 516b28dcd827d35a6155906c6577271f (MD5) Previous issue date: 2009 / Resumo: A presente dissertação tem como objetivo principal a apresentação de técnicas composicionais desenvolvidas pelo autor com a utilização de métodos estocásticos e distribuição do material gerado em camadas e blocos como ferramentas no auxílio de geração de eventos musicais parametrizados. Para isto, se fez um levantamento e uma discussão dos processos composicionais relacionados ao escopo deste trabalho como os do compositor lannis Xenakis. Além das técnicas e das obras musicais resultantes deste processo, uma contribuição original é o programa XNKS, criado e desenvolvido durante a pesquisa e usado nas composições aqui apresentadas. Particularmente apresentamos o sistema composicional utilizado pelo autor na elaboração da obra EVENTVM III a qual é descrita em detalhes neste trabalho / Abstract: The present thesis has as main objective the presentation of compositional techniques developed by the author with the use of random methods and distribution of the material generated in layers and blocks as tools in the aid of generation of parameterized musical events. For this, it was made a survey and a discussion of related compositional processes of this work as that one of the composer Iannis Xenakis. In addition to the techniques and the resultant musical pieces of this process, an original contribution is program XNKS, created and developed during the research and in the compositions presented here. Particularly, we present the compositional system used by the author in the elaboration of piece EVENTVM III which is described in details in this work / Mestrado / Mestre em Música

<p>EVOLUTIONARY SKETCHES is a three-movement sextet composition for flute, clarinet in Bb, percussion, piano, viola, and cello. The idea of the piece is based on the study of applying scientific evolutionary theories to compositional techniques. The first movement reflects my attempt to realize the generic process of development from one generation to the next by natural selection, crossover, or mutation. In the second movement, I conceive an image of evolution in which changes take place through battles among different evolutionary factors over progress. The structure of the third movement explores the extensive use of cellular automata.</p> / Dissertation

Thesis (D.M.A.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xiv, 107 p.; also includes graphics, music. Includes bibliographical references (p. 103-107). Available online via OhioLINK's ETD Center.