The Wells-Rapp Center for Mallet Percussion Research
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Developing a Four-Mallet Marimba Technique Featuring the Alternation
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Developing a four-mallet marimba technique featuring the alternation of mallets in each hand for linear passages and the application of this technique to transcriptions of selected keyboard works by J.S. Bach Thomas Allen Zirkle Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zirkle, Thomas Allen, "Developing a four-mallet marimba technique featuring the alternation of mallets in each hand for linear passages and the application of this technique to transcriptions of selected keyboard works by J.S. Bach" (2003). LSU Doctoral Dissertations. 3099. https://digitalcommons.lsu.edu/gradschool_dissertations/3099 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. DEVELOPING A FOUR-MALLET MARIMBA TECHNIQUE FEATURING THE ALTERNATION OF MALLETS IN EACH HAND FOR LINEAR PASSAGES AND THE APPLICATION OF THIS TECHNIQUE TO TRANSCRIPTIONS OF SELECTED KEYBOARD WORKS BY J.S. BACH A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The Department of Music by Thomas Allen Zirkle B.S., Ball State University, 1993 M.M., Southern Illinois University, 1995 December 2003 Dedication This paper is dedicated to Dr. -
Xylo Archive Index
XYLOPHONE ARCHIVE BY ARCHIVE NUMBER / LABEL / ARTIST PAGE 1 Archive No. Record label Artist Catalog No. Song Title ca. Date Notes NORTH AMERICAN '78-RPM DISC LABELS Actuelle (see Pathe Actuelle) Aeolian (see Vocalion) 1 American Xylophone Solo #031208 A Bit O' Blarney 1905 prob. Charles P. Lowe-xylo 2 Apex All American Five 4219B Pretty Miss Virginia 3 Apex Dixie Marimba Players 8800B Rosette 4 Apex Eckstein (Willie) Trio 583A Lovely Lucerne 1923 unknown xylo 5 Apex Eckstein (Willie) Trio 583B Just a Memory of You 1923 unknown xylo 6 Apex Green Bros. Novelty Band 4255A My Mammy book pg.129 (Okeh) 7 Apex Green Bros. Novelty Band 4281A Wyoming book pg.129 (Okeh) 8 Apex Green Bros. Novelty Band 4330A My Man (Mon Homme) 1921 book pg.129 (Okeh) 9 Apex Green Bros. Novelty Band 4398A All By Myself 1921 book pg. 130 (Okeh) 10 Apex Green Bros. Novelty Band 4398B Peggy O'Neil 1921 book pg. 130 (Okeh) 11 Apex Green Bros. Novelty Band 4440B Glow Little Lantern of Love 1921 book pg.130 (Okeh) 12 Apex Green Bros. Novelty Band 4442A Mississippi Cradle 1921 book pg. 130 (Okeh) 13 Apex Green Bros. Novelty Band 4442B Stand Up and Sing For Your Father 1921 book pg. 130 (Okeh) 14 Apex Green Bros. Novelty Band 4467B Monastery Bells 1921 book pg. 130 (Okeh) 15 Apex Green Brothers Trio 413A Last Night On The Back Porch G.H Green or Joe Green- xylo 16 Banner Dubin's Dandies 0557B Stay In the Sunshine and Smile 1929-30 prob. G.H Green- xylo 17 Banner Lopez (Vincent ) and his Orchestre 0557A Look for the Silver Lining 1929-30 Vibes, pg. -
Ludwig-Musser 2010 Concert Percussion Catalog AV8084 2010
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion.” With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in a wide range of sizes and models to completely satisfy the needs of beginners, schools, universities and professionals. With a choice of hammered copper, smooth copper or fiberglass bowls, Ludwig Timpani always deliver the full rich sound that generations of timpanists have come to expect from Ludwig. -
Brian Baldauff Treatise 11.9
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love. -
A Place – a Time Eva-Maria Houben
a place – a time percussion (1 player) eva-maria houben © edition wandelweiser 2021 catalogue number ew16.359 a place – a time flying leaves for a percussionist eva-maria houben 2021 for aaron butler. a place: a place outdoors or indoors where you could have a good mind to spend a good time. a time: a time you spend at a certain place staying there for a while. maybe you are inviting the light, the wind, or the thunderstorm to enter. maybe you are inviting the rustling foliage, the run of water, the speaking stones, the branches, the birdsongs, the traffic, the working noises, or fragments of speaking voices or shouts to accompany you. finding a place filling the place with one’s own breath feeling the special atmosphere of the place putting together some loose sheets that could respond to this place performing—any order of the sheets, any order of the sounds on one sheet ending somehow, somewhen the score opens for all sounds of the environment. intervening and letting (something) happen have the same nature as intentional activities. the score touches both realms of actively doing something and actively letting something be. here and there undetermined instrumentation. all sounds are (rather) soft. repetition sign: number of repetitions ad libitum. all sounds find themselves in a one-line system. sometimes you find two, three or more sounds distributed above, on, or below the line: the different distances from the line for an instrument with pitched sounds indicate higher or lower (defined) pitches, not exactly a certain pitch. the sounds of an unpitched instrument appear in the same way in different distances from the line as different tones (of the material / instrument); this difference of ‘tones’ depends on different touch points. -
Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument. -
Percussion-Instrumente Percussion Instrumente
Percussion-Instrumente Percussion Instrumente Unsere Neuheiten: Triangel mit Anschlagvorrichtung Tamburine mit Klemm- und Kreuzhalterung Freischwingende Innenaufhängung für Große Trommeln übergroße und zerlegbareTrommeln Trommeln mit Kupferkessel Seiltrommeln Pedal-Tomtom Klaviaturglockenspiel Celesta Marimbaphone Liegende Röhrenglocken weitere Flight-Case-Modelle modifizierte Pauken-Modelle neue Produktserie „Solist“ für Schulen, Musikvereine und Solisten Bühnenpodeste für Orchester und Chor Eigenprodukte und Fremdfabrikate aller Marken Zuvor noch eine Bemerkung zur Qualität und Vielseitigkeit Wir sind stolz darauf, sämtliche großen und international renommierten Orchester der Welt zu unseren Kunden zählen zu dürfen. Das verpflichtet natürlich. Deshalb bieten wir nur Produkte an, die technisch ausgereift, perfekt verarbeitet und mehrfach geprüft sind. Bei uns gibt es keine Massenherstellung. Jedes Kolberg Produkt wird mit größter Präzision und handwerklichem Können einzeln gefertigt, in Kenntnis der praktischen und klanglichen Anforderungen, mit ausgewählten Materialien und modernster Technologie. Das Ergebnis: klanglich perfekte und gut zu handhabende Instrumente sowie „intelligentes“ Zubehör, robust genug, nicht nur e i n e Musiker-Generation zu überstehen. Die Benutzung hochwertiger Materialien und die sorgfältige Bearbeitung sowie die elegante Formgebung verleihen allen Kolberg Produkten ein klassisch-edles Design. Kolberg Percussion bietet eine riesige Produktpalette an: von latein-amerikanischen Effekt- Instrumenten über asiatische -
Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled -
I a Comparative Analysis of the Mechanics of Musser Grip, Stevens
A Comparative Analysis of the Mechanics of Musser Grip, Stevens Grip, Cross Grip, and Burton Grip by Adam Eric Berkowitz A Document Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts Florida Atlantic University Boca Raton, FL April 2011 i Copyright © 2011 by Adam Eric Berkowitz ii Table of Contents Introduction ..................................................................................................................................... 5 Clair Omar Musser ........................................................................................................................ 12 Musser Grip .................................................................................................................................. 16 Leigh Howard Stevens .................................................................................................................. 19 Stevens Grip .................................................................................................................................. 23 A Comparison of the Musser Grip and the Stevens Grip ............................................................. 27 The Origins of the Cross Grip ....................................................................................................... 30 Cross Grip ..................................................................................................................................... 31 Gary Burton ................................................................................................................................. -
Contimbre Modes
All available playing techniques of conTimbre 1 brass ho rns ho rn in f bisbigliando 2 brass horns horn in f flutter-tongue/tongue-R 3 brass horns horn in f half depressed valves 4 brass horns horn in f hit on mouthpiece 5 brass horns horn in f insert straight mute into bell 6 brass horns horn in f kiss 7 brass horns horn in f mouthpiece backwards 8 brass horns horn in f mouthpiece only 9 brass ho rns ho rn in f o rdinario 10 brass horns horn in f play and sing/woman 11 brass horns horn in f silent brass mute 12 brass horns horn in f slap 13 brass horns horn in f snap with a finger on the bell 14 brass horns horn in f snap with a finger on the bell/coin on finger 15 brass horns horn in f stop mute/closed 16 brass horns horn in f stop mute/open 17 brass horns horn in f stop mute/wahwah effect 18 brass horns horn in f straight mute 19 brass horns horn in f without mouthpiece/air noise/english 'f' 20 brass horns horn in f without mouthpiece/air noise/english 'h' 21 brass horns horn in f without mouthpiece/air noise/english 'k' 22 brass horns horn in f without mouthpiece/air noise/english 'p' 23 brass horns horn in f without mouthpiece/air noise/english 's' 24 brass horns horn in f without mouthpiece/air noise/english 'sh' 25 brass horns horn in f without mouthpiece/air noise/english 't' 26 brass horns horn in f without mouthpiece/air noise/flutter-tongue/tongue-R 27 brass horns horn in f without tubings/bb-horn 28 brass horns horn in f without tubings/f-horn 29 brass ho rns natural ho rn in a o rdinario 30 brass horns natural horn in ordinario -
“Testimony Through Tunes”
“Testimony Through Tunes” The singing of hymns is one of the best ways to put ourselves in tune with the Spirit of the Lord. I wonder if we are making enough use of this heaven-sent resource in our meetings, in our classes, and in our homes. .Our hymns contain matchless doctrinal sermons, surpassed only by the scriptures in their truth and poetic impact. Dallin H. Oaks, Ensign, Nov. 1994 Uplifting music can be brought into our homes in numerous ways through games, lessons, instruments, sing- a-longs, etc. These ideas can be used to help: Provide family entertainment Strengthen family relationships Develop appreciation for beautiful, wholesome music Learn gospel doctrine from the lyrics Build Testimonies These things all work together to build testimonies. Testimonies of Heavenly Father, Jesus Christ, the Holy Ghost, the prophets, the Scriptures, the Plan of Salvation and many other important Gospel topics can be obtained through teaching Hymns and Primary songs to your family. The lyrics to these wonderful songs will be remembered throughout their lives and will be a source of guidance and comfort especially in difficult times. “If we listen, (the hymns) are teaching the gospel. .the hymns of Restoration are, in fact, a course in doctrine.” Boyd K. Packer, Ensign, Nov. 1991 “Singing our beautiful, worshipful hymns is food for our souls. We become of one heart and one mind when we sing praises to the Lord.” James E. Faust, Ensign, May 1992 The following pages contain online music resources, music game suggestions and instructions for simple-to- make instruments. The whole family will enjoy making, decorating and playing these clever musical instruments which cost almost nothing to construct and can be used in Family Home Evenings, reunions and campouts or whenever. -
Poppy Fields Câmpuri De Maci
Livia Teodorescu-Ciocănea Poppy Fields Câmpuri de maci Oratorio in memory of the soldiers who died during the First World War Poppy Fields Câmpuri de maci Oratorio in memory of the soldiers who died during the First World War for Mezzo-Soprano (ossia Soprano Dramatico), Tenor, Baritone, mixt choir and full orchestra Parts 1. Big Ben Eleven - Declaration of War (Baritone, choir and orchestra) 2. In Flanders Fields (Tenor, choir and orchestra) 3. "Români!" - Proclamația către țară a regelui Ferdinand ("Romanians" - King Ferdinand's proclamation to the Romanian people) (Baritone and orchestra) 4. În vârful Carpaților (On top of the Carpathians) (Tenor, choir and orchestra) 5. Rugăciunea Reginei Maria pentru cei căzuți (Prayer of Queen Marie for the Dead) (Mezzo-Soprano and orchestra) Biografie Muzica are putere nelimitată. A compune muzică înseamnă a împărtăși imaginația, inteligența și sentimentele tale. Ceea ce rezultă ar trebui să fie mai mult decât ți-ai imaginat inițial și dincolo de propria înțelegere. Misterul intangibil al muzicii tale va crește odată cu sensibilitatea, imaginația și așteptările fiecărui ascultător. Livia Teodorescu-Ciocănea Livia Teodorescu-Ciocănea este o compozitoare și pianistă concertistă română, profesor universitar doctor la Universitatea Națională de Muzică București, Departamentul de Compoziție, unde predă compoziție, stilistică și poetică, forme și analize muzicale. Numeroasele sale compoziții și înregistrări sunt apreciate internațional pentru viziunea lor puternică, impactul emoțional și rafinamentele timbrale remarcabile. O serie de lucrări muzicologice (cărți și capitole de carte) au fost publicate în țară, în timp ce câteva dintre articolele sale recenzate au fost acceptate în jurnale muzicologice internaționale de vârf. În 2008 a câștigat un grant internațional Endeavour Award – Postdoctoral Research Fellowship (2008) - finanțat de guvernul australian și efectuat la Universitatea Monash.