Doctor of Musical Arts (DMA), Bowling Green State University, 2024, Contemporary Music

This paper will provide a resource for percussionists and composers interested in music for non-traditional solo instruments and electronics. The goal is twofold: first, to present a user-friendly guide with identification of required electronic equipment, an understanding of basic signal flow, setup and troubleshooting guides, compositional trends, and technical demands; second, to promote this repertoire through a performance and analysis guide of three prominent works - Javier Alvarez's Temazcal (1984), Matthew Burtner's Broken Drum (2003), and Christopher Tonkin's In (2005). These works are representative of the genre and incorporate either live or fixed electronics. The instruments featured in these pieces are often treated by other composers as having limited artistic potential; positioning them as solo instruments allows them to demonstrate their artistic capabilities. Pairing them with an electronic component expands the palate of sound, providing more sonic diversity and expressive potential to an otherwise monochromatic instrument. In addition to the in-depth profiles of these three compositions, a selected list of applicable works is included with identification of specific instruments and technical demands. This will provide students and teachers with a body of current works which will aid in awareness and selection of this music. This paper aims to diminish current knowledge gaps related to contemporary electronic music and to promote the performance and creation of new works.

Committee: Daniel Piccolo DMA (Committee Chair); Marilyn Shrude DMA (Committee Member); Piyawat Louilarpprasert DMA (Committee Member); Lee Nickoson Ph.D. (Committee Member) Subjects: Music; Technology

Doctor of Philosophy (PhD), Ohio University, 2020, Interdisciplinary Arts (Fine Arts)

Resonance investigates recent developments in the field of contemporary percussion music. The five case studies examine how composers, performers, and listeners collaborate. An analysis of their collaborations reveals that recent advances include the reconceptualization of physical space and utilization of virtual space, the arrangement and orchestration of the composer's voice for percussion instruments, and how collaborators can use source material to explore new avenues of performance. The dissertation also features a creative component, a composition for amplified percussion instruments and four-track cassette recorder titled Resonance, in Three Movements. Scholars and artists interested in unique approaches to interdisciplinary collaboration involving physical and virtual space, source material, and commissioning will find that these case studies provide unique insights involving new directions in the burgeoning field of percussion studies.

Committee: Garrett Field Dr. (Advisor); Roger Braun (Committee Member); Vladimir Marchenkov Dr. (Committee Member); Richard Wetzel Dr. (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2016, Music

The role of the percussionist in the large ensemble has changed greatly over the last few decades and a staggering amount since its introduction to the medium. What has failed to evolve at the same pace is the way in which composers notate for percussion. The history of other instruments has led to a standardized notation with few techniques or possibilities left unexplored. Due to the ever-evolving nature of percussion, composers and publishers often find themselves having to create new markings to express their intentions. These new markings lead to discrepancies between different composers writing for the same thing, which leads to confusion for the percussion section. By examining a major, contemporary work by a well-known composer, this document will create a set of rules of engraving for the composer and publisher. Juilliard faculty member Robert Beaser's Manhattan Roll will be used to demonstrate many frustrations encountered by the percussion section. This document will then present solutions to these problems and explain how and why said problems should be avoided. Should these established rules be followed, a more standard notation can be achieved for percussion and in doing so, many inaccurate performances avoided. Concluding this document are appendices containing a re-engraving of the entire work including individual percussion parts along with the original music for comparison.

Committee: Susan Powell (Advisor); Katherine Borst Jones (Committee Member); Russel Mikkelson (Committee Member); Thomas Wells (Committee Member) Subjects: Music

Bachelor of Arts (BA), Ohio University, 2015, Music

This thesis discusses connections between the mental, emotional, and physical aspects of marimba performance. It is presented in conjunction with a mentally-prepared performance of Daniel Levitan's "Concerto for Marimba and Percussion Orchestra". Its purpose has been to discover one way in which musicians may protect their bodies and enhance their performance potential by elevating the role of the mind.

Committee: Roger Braun (Advisor); Andre Gribou (Other) Subjects: Music