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

This document is an examination of the history and development of the front ensemble in Drum Corps International (DCI.) The front ensemble can be defined as the group of stationary percussion instruments and electronic instruments that are a part of a marching music ensemble. Today the front ensemble is a major part of every drum and bugle corps, and plays a large role in the “pageantry arts.” This study provides the first known documentation of the front ensemble's history. It will include discussion of the development of performance, instrumentation, and the evolution of the musical function of the front ensemble. This document also includes a detailed catalogue of the instrumentation for every front ensemble competing in Division I and World Class DCI Finals. This document will be beneficial to those seeking to learn more about the front ensemble, marching percussion, or marching music in general. It will serve as a reference for students, educators, and historians. This study may also serve as a resource for further research of marching music and percussion.

Committee: Susan Powell DMA (Advisor) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2005, Music

This document is an examination of multiple percussion notation in selected repertoire. A complete standardization for multiple percussion is unlikely, and this project does not seek to standardize notation. Rather, it seeks to describe important works and their notational systems, thus illustrating that a standardization is not possible and would limit composers' creativity. The chosen repertoire represents a historical range of the genre, spanning from the first multiple percussion composition in 1918 to contemporary works. The compositions chosen for this project are presented in chronological order, and consist of the following works: Igor Stravinsky's “L'Histoire du Soldat,” Darius Milhaud's “La Creation du Monde” and “Concerto for Percussion and Small Orchestra,” Morton Feldman's “The King of Denmark,” William Kraft's “English Suite,” Iannis Xenakis' “Psappha” and “Rebonds,” and David Hollinden's “Cold Pressed.” Each work was examined and then described in terms of instrumentation, set-up, composer's instructions, and notational systems. In addition, the study seeks to identify connections between the composers' chosen notational systems, the composers' backgrounds, and the works' chronological placement in the development of percussion music. This document's purpose is to illustrate the compositional devices used, and in some cases created, by the selected composers. Several problems in notation were concluded from the examination, including composers' choice of and inconsistencies in note placement, unnecessary details, multiple staves, and unfamiliar graphic notation. Further conclusions drawn from the examination offer suggestions for assisting composers project a clear representation of their intentions.

Committee: Susan Powell (Advisor) Subjects: Music

DMA, University of Cincinnati, 2024, College-Conservatory of Music: Percussion

Electronic music has a rich history dating back farther than just the 1950's. Edgard Varese is often credited with the establishment of musique concrete, though that behemoth was taking shape well before his time. After some decades of composers creating pieces using analog sound systems and synthesizers, we have reached a breaking point in performing their works. Quite often the technology has become decrepit and dysfunctional, if one can procure it at all. A method of performing these works in a manner faithful to the composer's original intent does still exist—and that is through digital signal processors like Max, developed by Cycling '74. However, even with today's practices in Max and similar programs being robust and intuitive, problems in performance still arise that can be avoided altogether by a composer or programmer with the foresight to anticipate them. This document will provide performers and composers alike the necessary tools to navigate this music and improve future music in the electro-acoustic genre. The primary function of this document is to provide a brief historical background of both this analog heritage and digital uprising, a foundational knowledge of rudimentary hardware related to these, and a broad span of case studies related to pieces in both categories and in-between which leads into a discussion of better practices on the part of a composer-programmer.

Committee: James Culley M.M. (Committee Chair); Angela Swift Ph.D. D (Committee Member); Russell Burge M.M. (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2022, Music

Christopher Deane's contributions to the realms of solo and chamber percussion music are vast and far reaching. His works receive countless performances every year by high school, collegiate, and professional musicians. That being said, discourse on Deane has focused entirely on his solo music. This document provides an in-depth examination on the compositional processes, performance implications, and pedagogical benefits of five of Deane's published chamber percussion works. They include the following: The Manes Scroll, Scavenger Music, Vespertine Formations, Almost Perpetual Torque, and Marimba Quartet No.2 “Sensing the Coriolis.” Each chapter begins with background on one of the works, followed by a formal and thematic analysis, discussion of performance issues and extended techniques, pedagogical implications, and finally program notes from the composer or author. At the end, two appendices are provided, containing a list of Deane's published percussion works and a discography of his percussion ensemble works. Ultimately, the author hopes to provide a resource for percussionists and educators looking to program one of Deane's works.

Committee: Susan Powell (Advisor); Russel Mikkelson (Committee Member); Bruce Henniss (Committee Member); Anna Gawboy (Committee Member) Subjects: Music; Pedagogy; Performing Arts

Doctor of Musical Arts, The Ohio State University, 2022, Music

In the late 1980s, there was a significant increase in compositions for violin and percussion. This expansion of the repertoire is largely attributed to groups like Marimolin, who regularly commission and premiere works for the medium. However, a thorough examination of these works has not yet been completed. The most common instrumentation is violin and marimba, however, composers have begun to include additional percussion instruments. This document will bring focus to compositions utilizing percussion instruments beyond the marimba alone. Each chapter will examine a different work for violin and percussion: Somewhere in Maine, Shadower, Six Questions, A River, Rose, A Wasp in the Mango, 77, and Sensations of Metals. The selected works include percussive sounds beyond the marimba, span over multiple decades, represent different compositional styles, and utilize different percussion instruments. Each chapter will contain background information, a brief analysis, compositional techniques, instrument selection, setup options, balance issues between instruments, performance considerations, and rehearsal approaches. The goal for this document is to demonstrate best practices for performing each of the selected works. It will also be useful to composers, demonstrating the most efficient techniques when composing violin and percussion duets.

Committee: Susan Powell (Advisor); Karen Pierson (Committee Member); David Hedgecoth (Committee Member); Russel Mikkelson (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

DMA, University of Cincinnati, 2011, College-Conservatory of Music: Percussion

William "Bill" Russell (1905-1992) is relatively unknown as a composer of Percussion music, but his oeuvre of eight pieces for percussion ensembles was at the forefront of the avant-garde music movement in the United States of America during the 1930's. Russell's works represent the essence of the American Experimental Tradition, a tradition that embraced, furthered, and celebrated the liberation of sound in the early 20th century. In addition, his works represent one of the first true manifestations of a pan-cultural music. Although championed by other well-known modernists, most notably John Cage and Lou Harrison respectively, Russell's compositions continue to languish in obscurity. The occasional scholarship that makes mention of Russell's works has been limited to brief introductory comments on their contents. The intention of this study is to present a performer's/conductor's guide for performance, while addressing Russell's compositions within an appropriate historical context as they relate to the evolution of the percussion genre. This document provides a depository of Russell's personal notes on his compositions, personal correspondence, and excerpts from all of his manuscripts—both original and revised scores.

Committee: Allen Otte MM (Committee Chair); Russell Burge MM (Committee Member); James Culley MM (Committee Member) Subjects: Music

M.M., University of Cincinnati, 2010, College-Conservatory of Music : Music History

The Percussion Group Cincinnati, an ensemble-in-residence at the University of Cincinnati's College-Conservatory of Music, celebrated its thirtieth anniversary in 2009. In its first three decades, this trio collaborated with at least fifty composers, several of whom have contributed multiple compositions. The more than seventy works composed expressly for the ensemble comprise the core of its performance repertoire. While the members have amassed a sizable body of chamber percussion compositions, their primary goal has remained the process of collaborating. Whereas comparator ensembles measure success by their number of recordings, performances at specific events, or notoriety among various communities, the Percussion Group Cincinnati can be best understood through a careful consideration of its interactions with composers. Through an analysis of the Percussion Group Cincinnati's correspondence, concert programs, promotional materials, recordings, and performance reviews, as well as extensive interviews with past and current members, this thesis offers an examination of the ensemble's partnering composers/collaborations, compositions, and reception. While sharing portions of the ensemble's history, through the lens of composer-performer interaction, this thesis argues that the absence of the Percussion Group Cincinnati from histories of twentieth-century percussion music evinces a flaw in the existing literature: the prevalence of evolutionary narratives that venture to connect the “great composers” of twentieth-century percussion music with the likes of Haydn, Beethoven, and Berlioz. Instead of exploring the various ways that composers and performers in this genre have functioned, authors have too often set out to legitimize percussion chamber music by placing it in a teleological narrative whose connections are weak and overstatements are many. This thesis demonstrates that, while the members of the Percussion Group Cincinnati are known mainly as performers, they (open full item for complete abstract)

Committee: bruce mcclung PhD (Committee Chair); Jeongwon Joe PhD (Committee Member); Robert Zierolf PhD (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2005, Music

In 1952, Michael Colgrass set precedent in Western art music by prescribing determinate pitch for small, cylindrical drums in his percussion ensemble piece, Improvisation. Over a period of twelve years following Improvisation, Colgrass penned seven more compositions featuring drums tuned to determinate pitches. Collectively defining Colgrass's drum-melodic oeuvre, this music not only challenged traditional perceptions on the musical role of the drum but is also paralleled by significant innovation in the drum-melodic instrument itself. Eventuating in a small, easily portable drum capable of projecting a defined and readily adjustable pitch, it is through Colgrass's early percussion music for melodic drums that a direct line of causality can be drawn to the invention of the roto-tom. The purpose of this paper then, is to describe the process of invention that unfolded during the interval of composition that includes the first eight pieces for which Colgrass required drums tuned to specific pitches (1952 to 1964). Through analysis of this music and the instruments employed therein as well as interviews with the composer and closely associated colleagues, it is hoped that a better understanding of the artistic forces and practical circumstances surrounding this process can be ascertained. In its ultimate abstraction, this paper presents a line of correlation between those elements in the focus repertory that demonstrate the development of Colgrass's drum-melodic concept and a sequence of innovation applied to the traditional tom-tom to facilitate it. The interval presented in this paper (1950-1967) represents the first artistic period of Colgrass's lifetime musical output—a period of intense percussion composition and professional performance. To organize the material presented here, this period is divided into three smaller intervals that delineate stages in the development of Colgrass's drum-melodic concept: (1) foreshadows of the drum-melodic—three ensemble composit (open full item for complete abstract)

Committee: Christopher Weait (Advisor) Subjects: Music

Doctor of Musical Arts (DMA), Bowling Green State University, 2012, Contemporary Music

The art of traditional music has diminished in significance in educational and cultural institutions in Taiwan and has been gradually replaced by Western music in schools and concerts. Some artists in Taiwan have observed the potential impact of the loss of this vibrant art form and have tried new ways to regain the public's attention. Taiwanese composer Chien-Hui Hung and the Ju Percussion Group have done numerous cross-cultural productions incorporating traditional arts with Western concert music as an effort to preserve and regain attention for Taiwanese culture. The aim of this study is to examine one of these endeavors to combine traditional arts and modern Western percussion music in Chien-Hui Hung's Mu Kuei-Yin In Percussion. This doctoral document is the first to discuss Chien-Hui Hung's music and her working relationship with Ju Percussion Group. Chapter One of this document consists of the author's interview with the composer discussing her musical background, education, relationship with Ju Percussion Group, and her view of the current development of music in Taiwan - both Western and traditional. Chapter Two is a brief introduction to Peking Opera. Chapter Three is a study of the traditional Peking Opera play, Mu Kuei-Yin Takes Command, from which the composer draw inspirations for her work Mu Kuei-Yin In Percussion. Chapter Four is an analysis of Mu Kuei-Yin In Percussion, both individually and in relation to Mu Kuei-Yin Takes Command.

Committee: Roger Schupp DMA (Advisor); Fleming Fallon MD, DrPH, PhD (Committee Member); Marilyn Shrude DM (Committee Member); Kenneth Thompson DMA (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2024, Music Composition

Through the Cracks is a ten-minute work for Hypercube Ensemble (tenor saxophone, electric guitar, piano, and percussion) with fixed media electronics. The singlemovement piece is inspired by the decrepit landscape of abandoned factories in my hometown of Hamilton, Ohio. Through the Cracks is written in four loose sections. The introduction depicts the abandoned factory landscape, opening with a sparse texture using percussive sounds. Layered rhythmic accelerandi and ritardandi obscure any sense of pulse, portraying the landscape's disintegration. The second section gradually becomes more texturally and rhythmically dense, with pitch content emerging. Eventually, a minor-mode melody is presented by the saxophone. The third section becomes more rhythmically regular, featuring an ostinato pattern in the electronics, representing the steady rumble of machinery in the factories' past. The final section returns to the desolation of the present day, with airy and pitched sounds overlapping within a sparse, arhythmic texture. Rhythmic accelerandi and ritardandi form significant aspects of the piece and are often used to create fluctuating textures and connecting gestures. During pulse driven sections streams of sixteenth notes move between the ensemble and electronics to create a consistent grid. Nonstandard subdivisions of beats and syncopation help blur meters and downbeats. The ensemble employs a variety of extended techniques to help portray the abandoned factories. The tenor saxophonist uses several multiphonics along with slap tongue and bisbigliandi. The pianist applies light preparation on D6, E6, F6 G6, and A6, using a small iv amount of tack tape applied to the strings to create a muted sound with very little pitch. The percussionist bows several notes on the vibraphone and uses wire brushes on the drums. In some sections, the guitarist mutes the strings with their strumming hand to remove pitched content, creating a highly percussive sound (open full item for complete abstract)

Committee: Elainie Lillios DMA (Committee Chair); Christopher Dietz Ph.D (Committee Member) Subjects: Music

Doctor of Philosophy (PhD), Ohio University, 2023, Interdisciplinary Arts (Fine Arts)

GILLEY, DARREN R, Ph.D., August 2023, Interdisciplinary Arts Dancing with the Jinn: An Ethnographic Memoir of Transformation in the Field Directors of Dissertation: Erin S. Schlumpf, Diane Ciekawy, Tom Hayes, and Vladimir Marchenkov This dissertation, Dancing with the Jinn, is an ethnographic exploration of the secret terrain of mediumship in West African ritual. I rely on years of fieldwork in the Republique de Guinee and document several events that forced me to confront the reality of other-than-human beings as participants in ritual music practices. As a result of these experiences, I seek to answer two essential questions. The first is to better understand the methods and politics of reciprocal exchanges between the djembefola1 and the various other-than-human entities. The second is determining how percussive phrases operate as sonic keys to unlock portals into this largely unfamiliar world. I argue that percussive rhythms serve as sonic phrases that open portals between humans and non-human realms containing spirits, ancestors, and jinn.

Committee: Erin Schlumph (Committee Chair); Diane Ciekawy (Committee Co-Chair); Diane Ciekawy (Committee Co-Chair); Vladimir Marchenkov (Committee Member); Vladimir Marchenkov (Committee Member); Tom Hayes (Committee Member); Tom Hayes (Committee Member) Subjects: African Studies; Cultural Anthropology; Film Studies

Master of Music (MM), Bowling Green State University, 2023, Music Composition

The Inconsistent Continuities is a single movement chamber piece with fixed media. The Inconsistent Continuities was composed for Hypercube Ensemble, whose performing forces include saxophone, electric guitar, percussion, and piano. An additional fixed media component is being controlled over time by one of the performers. The piece's theme is inspired by my personalized perception of living and coping with Attention Deficit Hyperactive Disorder (ADHD). The Inconsistent Continuities aims to sonically portray my personalized experiences living and coping with ADHD. Each ensemble member, plus the fixed media, personifies one or multiples of the three main ADHD traits: fixation; distraction; and inattentiveness. The single-movement piece comprises three sections. The first section establishes the four ensemble members as a theoretical “brain” attempting to formulate a musical melodic gesture or “idea.” This idea loops, signifying the characteristics of fixation. An external distraction from the fixed media then attempts to distract the ensemble from their original melodic thought. The musical content introduced by the fixed media is distant and obtrusive compared to the fixated thought from earlier. The remaining role (inattentiveness) is introduced during this section and attempts to bypass the first thought and the distraction. This section represents the mind being overly stimulated and the traits of ADHD that are more prevalent and controlling. The second section begins as a collective dialogue between all three characteristics that eventually reaches critical mass, followed by an abrupt breath inhale by the ensemble. This represents the mind being overwhelmed during social situations and everyday life while desperately seeking a moment of clarity. The final section unites each member, but the melodic idea of the piece changes, representing the mind solving the task or completing its thought through the tangential ADHD thought process.

Committee: Elainie Lillios Ph.D. (Committee Chair); Mikel Kuehn Ph.D. (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2023, Music Composition

Towards an Absurdist Semiological Syncretism (A.S.S.) is a composition for chamber ensemble and fixed media. The work will receive its premiere in April 2023 by the Hypercube ensemble as part of the Bowling Green State University College of Musical Arts Klingler Electroacoustic Residency. The instrumentation consists of saxophones (soprano and baritone), electric guitar, piano, and percussion (vibraphone, large tom, and snare drum). The work's title is both a farcical rendering of academic language and a description of its narrative: the subject (portrayed by the instrumentalists) attempts an establishment of existential meaning among emotional distress at a culture of increasing dependence on social media and the amorphous dictates of consumerism (portrayed by the fixed media). The composition comprises three large formal divisions. In the first section, five discrete sets of intervals populate a field of pitches. These interval sets are gradually restricted from their field towards a climactic hexachord (6–20[014589]). The second section employs single-line-staff notation to express pitch-agnostic gestures written for slide whistles. The third section consists of totalistic rhythmic and tonal constructs, the gradual simplification of which seeks to recontextualize a similar process in the opening section. The fixed media component of the work is sourced from recordings of public domain literature, popular soundbites from social media (in accordance with U.S. fair use doctrines), and various objects being broken.

Committee: Elainie Lillios (Committee Member); Mikel Kuehn (Committee Chair) Subjects: Music

MA, Kent State University, 2022, College of the Arts / School of Music, Hugh A. Glauser

"The Strands of Time" is my concerto for percussion and orchestra. The piece takes the listener through an ever-changing cascade of ideas and blurring the lines between different facets of time, all while maintaining a sense of forward direction and bringing back recognizable ideas through the swirl of sound.

Committee: Adam Roberts (Advisor); Joshua Albrecht (Committee Member); Jungho Kim (Committee Member) Subjects: Composition; Music

Master of Music (MM), Bowling Green State University, 2021, Music Composition

breaking in torrent ⸺, is a composition for a two percussionist, two pianist quartet with fixed media that was inspired by the poem “River Sonnet” by Tacey M. Atsitty. The imagery of place and memory informed the creation of a collection of sonic moments inspired by the textual landscapes of this text. breaking in torrent ⸺'s formal structure is through-composed, following the progression of six continuous scenes of various densities, rhythms, timbres, and harmonic material derived from particular phrases and/or words of the poem. The first section flow, explores the motion of rushing water with the constant rhythmicity of sixteenth-note runs. The second section stars, features a delicate, suspended atmosphere. The third section undercurrent, emerges as an ostinato that grows in both volume and range, that transitions into the fourth section rise, containing rapidly ascending gestures. These release into the fifth section, plumes of pang, during which a gentle harmonic progression emulates the sense of yearning and at times regret present within the text. The piece finishes with a return to flow material, recast into a different form than its initial presentation. breaking in torrent ⸺'s harmonic content originated from the progression (B♭M6, Dm, FM43, F♯M64(♭5), E♭M7), that was divided to create two pitch “zones” spread across multiple octaves. Arranged horizontally, each zone formed an irregular scale comprising six pitches. An additional ten pitch melodic phrase is introduced later as a third pitch zone. Rhythm in the work includes metrically driving rhythmic passages, ametric atmospheres, and varying combinations of the two. For example, layers of rapid tuplet figures create washes of sound while streams of steady eighth-note ostinati churn in rapidly shifting meters. Rhythmic lines at times act independently, creating contrapuntal intricacy and rhythmic hocketing. Other moments feature the ensemble in dramatic tutti, with unified rhythmic (open full item for complete abstract)

Committee: Elainie Lillios Dr. (Advisor); Mikel Kuehn Dr. (Committee Member) Subjects: Composition; Fine Arts; Music; Performing Arts

Master of Music (MM), Bowling Green State University, 2021, Music Composition

Human Becoming is a piece for two percussionists, two pianists, and fixed media approximately ten minutes in duration. The piece is influenced by Rosemarie Rizzo Parse's nursing theory of Human Becoming. The theory was first published as “Man-Living-Health” theory in 1981, and renamed to “Human Becoming” in 1992. The theory serves as an alternative to most other nursing theories' biological, psychological, social, and spiritual approaches. Parse rates quality of life based on each patient's self-perspective and personal goals. The theory is based on three main concepts - Meaning, Rhythmicity, and Transcendence, which each form a separate section of the work. The theory is not quantifiable, does not utilize the nursing process, and it lacks standardized research, making it less than useful as a medical evaluation tool. The subjective nature of it does however present an interesting framework on which to build a musical narrative. The composition is structured in three overarching sections, each based on a different theme of Human Becoming. The particular assumptions given in each theme influence the musical material and atmosphere of the individual sections, and set up the slow development of the piece's narrative. Human Becoming has pushed me to further develop my compositional voice and fully utilize the piano and percussion in conjunction with the fixed media. This piece was selected for performance through the BGSU College of Musical Arts Call for Proposals for the Icarus Quartet.

Committee: Mikel Kuehn (Advisor); Marilyn Shrude (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2021, Music Composition

herbstlied or "autumn song" is a composition for two percussionists, two pianos, and fixed media. This work explores how bipolar disorder and subtle, seasonal light fluctuations can affect one's emotional state and sense of stability (or lack thereof). Reconciling ever-fluctuating emotional states with an exploration of timbre and colors, herbstlied formally consists of three modal areas, further subdivided into various textural spaces. The distinctions between these modal areas are obfuscated by assigning each player a partition of the composite and slowly interpolating between the modal areas at different rates. The sound of the ensemble is further augmented through the use of a multitude of implements, including glass bottles, EBows, protractors, and various sticks, mallets, and brushes. Emotional fragility is represented in herbstlied through a limited dynamic range of pppp - p and a slow, nebulous tempo. This nearly constant state of dynamic frailty is punctuated and foiled by two aggressive ff outbursts at the end of the work. By filtering out the central bandwidth of the dynamic range, the ensemble is forced to operate between two dynamic poles, gesturally and literally representing a bipolar relationship. I sincerely hope that herbstlied can be my small contribution toward greater mental health awareness and acceptance in the contemporary music and academic communities. Moreover, it is a sincere expression of gratitude to my wife, Autumn, who acts as my emotional ground in the times that I am most intensely affected by the bipolar phenomena explored in this work.

Committee: Mikel Kuehn PhD (Advisor); Laurello Michael AD (Committee Member); Lillios Elainie DMA (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2020, Music Composition

Delphinium is a twelve-minute work for percussion ensemble and fixed-media electronics commissioned by Robert McCormick and the McCormick Percussion Group. Delphinium is a genus of flowers with about three hundred known species. They grow in ever-changing combinations of colors with height varying from two to six feet. Delphinium focuses on slow- morphing kaleidoscopic textures and timbres growing the way the flowers develop naturally. Adding electronics to the percussion ensemble allows for the exploration of augmented reality in which the percussion instruments are artificially enhanced by the electronics to create a soundscape that creates a seamless relationship between acoustic and electronic elements. The work's structure is cast in four sections reflecting an ABCA' form. The first section begins open and sparse, gradually introducing the main melodic and textural content before returning to stasis. This second section features microtonally tuned wine glasses and an antiphonal waterphone duo. The third section enters abruptly and showcases larger and darker instruments such as the bass drum and gong. Delphinium's final section loosely recapitulates the first section before growing into a final climax. The harmonic content of the composition explores the minor second. The relationship between these notes expands through their harmonic series up to the fifth partial. The resulting set of pitches will be 8-16 (01235789). The minor second's frequency relationship also produces beating, which is further explored and exploited in the percussion (especially vibraphones) and electronics. Delphinium includes a fixed media part running in Pure Data that is to be triggered by percussionist seven, the conductor, or an audio engineer. The fixed media material is derived primarily from recorded vibraphone and crotale notes, wine glasses, waterphones, and various metallic percussion. The electroacoustic soundscapes augment harmonic beating and enhance instrumental mat (open full item for complete abstract)

Committee: Elainie Lillios Dr. (Advisor); Mikel Kuehn Dr. (Committee Member) Subjects: Composition; Music

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