Cage for One: Multiple-Percussion Solo with Soundscape in Three Movements, and: Argoru VIII: For Snare Drum, and: Micro-Concerto: For Percussionist and Mixed Quintet (review)

Notes ◽  
2012 ◽  
Vol 68 (3) ◽  
pp. 667-670
Author(s):  
Brian Holder
Keyword(s):  
Multiple Percussion ◽  
Snare Drum

scholarly journals APLIKASI PEMBELAJARAN PERALATAN TANJIDOR BERBASIS ANDROID

JOUTICA ◽  
2017 ◽  
Vol 1 (2) ◽  
Author(s):  
Yusuf Permadi ◽  
Nur Nafiiyah
Keyword(s):  
Operating System ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Entertainment Media ◽  
Snare Drum ◽  
Space And Time ◽  
Wind Instrument ◽  
Technological Developments ◽  
Narrow Space

Smartphone is the manifestation of the technological developments that can narrow space and time. Smartphone is not only used as a means of communication but as a means of entertainment for many kinds of applications that is presented by the developers. Android is an operating system that is widely used by several manufacturers of smartphones today. Application is a program which is designed to perform a function with specific goals and purposes. Tanjidor is the musical art of Betawi. Tanjidor did not come originally from Indonesia, but from Portuguese language in a word Tangedor which means “stringed musical instruments”. Tanjidor itselfis played in several musical instruments category, namely wind instruments (in particular instrument it is called as mouthpiece) like clarinet, trombone, tuba, saxophone, and trumpet. In addition, there is also wind instrument musical which played by hit it (in a particular type it is called a percussion), like snare drum, tenor drum, bass drum, cymbals and drums. Android-based Tanjidor equipment learning application is used as the entertainment media and also aims to preserve the Indonesian art heritage by inserting Tanjidor instruments in Android smartphon. Therefore, Tanjidor musical art does not disappear over the time.

scholarly journals Motion analysis of snare drum in relation with the musician’s expertise

2017 ◽  
Vol 20 (sup1) ◽  
pp. 149-150
Author(s):  
M. Mutio ◽  
F. Marandola ◽  
K. Ben Mansour ◽  
J. André ◽  
F. Marin
Keyword(s):  
Motion Analysis ◽  
Snare Drum

Is There a Need for a Fundamentally New Classification of Musical Instruments?

10.34690/156 ◽  
2021 ◽  
pp. 168-185
Author(s):  
Михаил Имханицкий
Keyword(s):  
Sound Source ◽  
Extraction Method ◽  
Symphony Orchestra ◽  
Large Family ◽  
Musical Instruments ◽  
New Classification ◽  
Pneumatic Valve ◽  
Snare Drum ◽  
Percussion Instruments

В статье предлагается новый принцип классификации музыкальных инструментов, основанный не на первичности источника звука при неизменной вторичности способа извлечения, а на полном равноправии этих компонентов. Для композитора и исполнителя всегда важнее способ извлечения звука, поскольку его источник - не более чем предпосылка тонообразования. Нелогичность общепринятой классификации становится очевидной уже при обращении к ударным инструментам: например, удар по мембране малого барабана делает его мембранофоном, а по обручу - идиофоном. Однако для музыкальной практики в первую очередь имеет значение способ извлечения звука на малом барабане и его принадлежность к ударным инструментам. В качестве примера также доказывается, что большое семейство гармоник надо определять не как «идиофоны с дутьем» и не как аэрофоны, согласно систематике выдающихся классиков инструментоведения Э. Хорнбостеля и К. Закса, а как пневматико-клапанные ламеллафоны. Автор статьи приходит к выводу, что музыкальные инструменты целесообразно классифицировать так, как это принято в академическом инструментарии: не на идиофоны, мембранофоны, хордофоны и аэрофоны, а, к примеру, на струнные смычковые, духовые и ударные - в симфоническом оркестре; целесообразно изменить принципы классификации и в других инструментальных составах. The article proposes a new principle of classification of musical instruments, based not on the primacy of the sound source with the constant secondary of the extraction method, but on the full equality of these components. For the composer and performer, the method of sound extraction is always more important, since its source is no more than a prerequisite for tone formation. The illogic of the generally accepted classification becomes obvious when referring to percussion instruments: for example, a blow on the membrane of a snare drum makes it a membranophone, and on a hoop-an idiophone. However, for musical practice, the method of extracting sound on a snare drum and its belonging to percussion instruments is primarily important. As an example, it is also proved that a large family of harmonics should be defined not as “idiophones with blowing” and not as aerophones, according to the systematics of the outstanding classics of instrumentation E. Hornbostel and C. Sachs, but as pneumatic-valve lamellaphones. The author of the article comes to the conclusion that it is advisable to classify musical instruments as it is customary in academic instruments: not into idiophones, membrano-phones, chordophones and aerophones, but, for example, into strings, brass and percussion-in a symphony orchestra; it is advisable to change the principles of classification in other instrumental sets also.

Historical Aspects of Rhythm Notation and Rhythm Sequences

2020 ◽  
Author(s):  
István Szabó
Keyword(s):  
Learning Process ◽  
Self Control ◽  
Historical Aspects ◽  
Snare Drum ◽  
Motor Processes ◽  
The Past ◽  
Movement Sequence ◽  
Percussion Instruments ◽  
History Of ◽  
Percussion Instrument

For percussionists, rhythm notation represents more than a mere temporal sequence of music; it also assists the selection and execution of the appropriate technique. This musical execution is often dependent on the percussion instrument, although it is safe to argue that the movement sequence when sounding an instrument is independent of its size and proportions. Starting from the first beats, it is as crucial to learn and master movement routines as it is to understand and feel the time between notes, since these together enable one to play out rhythm notation precisely and internalise the correct motor processes. Applying the adequate movement sequences during the learning process consciously could result in substantial self-control abilities, which can also be utilised during practice. In the past centuries, the style of percussionists’ performance has transformed substantially due to the evolution of instruments and mallets, as well as performers’ efforts towards faster tempos. In this study, a brief overview on the history of percussion instruments is followed by the presentation of the technical evolution and milestones of how snare drums and other drums are played. When practicing percussion instruments, we must bear in mind the vast contribution of percussionists from bygone centuries, who laid the foundations of modern-day techniques either in wars or for others’ entertainment. Keywords: tabor, snare drum, traditional grip, rudimental

Conclusion

Kick It ◽  
2020 ◽  
pp. 313-320
Author(s):  
Matt Brennan
Keyword(s):  
Future Research ◽  
Pop Music ◽  
Snare Drum

In explaining his move away from radio-oriented pop music, songwriter Nick Lowe once recalled in an interview that he had successfully escaped from ‘the tyranny of the snare drum’. This comment resonated with some musicians presumably because it expressed an uneasiness regarding the drum kit’s slow and steady ascent in the aesthetics of record mixes. The drummer’s status has arguably shifted over history from a position of conspicuous absence and ‘hanging around with musicians’ to a position of ‘tyranny’ where the freedom of contemporary commercial songwriting is restricted through a conservative reliance on a 4/4 beat, rigidly enforced by a regime of kick and snare. This chapter discusses area for future research on the drum kit.

scholarly journals Vibrational modes and damping in a snare drum shell

1990 ◽  
Vol 87 (S1) ◽  
pp. S138-S138 ◽  
Author(s):  
Dell O. Fystrom ◽  
Thomas D. Rossing
Keyword(s):  
Vibrational Modes ◽  
Snare Drum

Swing Rhythm in Classic Drum Breaks From Hip-Hop’s Breakbeat Canon

2017 ◽  
Vol 34 (3) ◽  
pp. 291-302 ◽  
Author(s):  
Andrew V. Frane
Keyword(s):  
Hip Hop ◽  
Perceptual Effect ◽  
Snare Drum ◽  
Iconic Status

Certain recorded drum breaks, i.e., drum patterns played without other instrumentation, have achieved iconic status, largely as a result of being frequently “sampled” in other recordings. Although these highly influential drum breaks (sometimes called breakbeats) have been integral to much of the hip-hop and other music produced in recent decades, there has been little scholarly investigation of their rhythmic features. To that end, this study examined 30 classic drum breaks from the “breakbeat canon,” focusing primarily on sixteenth-note swing (a systematic delay of even-numbered sixteenth-note divisions of the pulse). Such swing was common among the examined drum breaks, though the magnitude of swing was often fairly subtle (median swing ratio = 1.2:1). In contrast to some findings regarding jazz drumming, the magnitude of swing was uncorrelated with tempo, though the ranges of both variables were somewhat constrained. Backbeat delay (a systematic delay of snare drum at even-numbered beats) was found to be frequently present at beat 2, but not at beat 4. Additionally, this study introduces a quantity called “swing density,” defined as the proportion of even-numbered divisions (at the swing level) that contain events. The importance of this quantity to the perceptual effect of swing is discussed.

Effects of Playing Position on Hydration Status in Collegiate Marching Band Musicians

2018 ◽  
Vol 33 (3) ◽  
pp. 175-182
Author(s):  
Nobuo Yasuda ◽  
Shuto Ito
Keyword(s):  
Specific Gravity ◽  
Outdoor Environment ◽  
Hydration Status ◽  
Marching Band ◽  
Total Fluid Intake ◽  
Urinary Osmolality ◽  
Body Mass Change ◽  
Snare Drum ◽  
Urinary Specific Gravity ◽  
Before And After

OBJECTIVE: Marching band musicians often endure prolonged daily practices in warm-hot outdoor environments. Evaluation of hydration status by instrument position can shed light on health-related issues for these performers. The objective of this study was: a) to determine the effects of playing position on hydration status based on urinary biomarkers (urinary specific gravity and urinary osmolality) before and after marching band practice, and b) to evaluate the relation of hydration status with body mass change and fluid consumption for all playing positions. METHODS: Fifty-eight collegiate marching band players participated in this study, involving five playing positions: band pit (n=10), baritone and euphonium (n=12), snare drum (n=13), trumpet (n=12), and tuba (n=11). All participants performed their own routine marching band practice, which lasted a total of 6 hrs on 1 day. Each individual consumed ad libitum commercially available carbohydrate-electrolyte solution during the practice. To determine hydration status, urine samples were collected before and after practice for analysis of urinary specific gravity and urinary osmolality. Body weight and total fluid intake were also assessed pre- and post-exercise. RESULTS: There were no significant effects for playing position and time or interaction concerning the levels of urinary osmolality and specific gravity after practice. CONCLUSIONS: Our main findings suggest that hydration status may be similar among the different playing positions following prolonged practice in the outdoor environment.

Sign in / Sign up

Export Citation Format

Share Document