My approach to performing contemporary music, like many others, is centeredaround storytelling that merges the intention of the composer with my own interpretation. The balance between the two is unique for every work, as well as the sources of inspiration that shape each interpretation. In some cases, it works well to rely heavily on the historical context of the piece and the specific inspiration and process of the composer. In other cases, the composer desires more freedom and flexibility in the performance of their work, and the story of the piece is woven from the threads of personal stories, emotions, and imagery of the performer. For this project, I made audio recordings of three pieces including Seare Farhat’s Three Children’s Songs for Singing Percussionist, Keiko Abe’s Marimba d’Amore, and Thomas Kotcheffs Obbligato Snare Drum Music No. 1: The Power of Love. I then used these recordings to make music videos that blend elements of pop music videos and classical performance videos, using performance footage as well as narrative and abstract visuals to experiment with video making as a creative outlet while building a performance portfolio that represents me as an artist. In addition to a reflection of my process, this document is also designed as a resource for performers who are interested in learning how to make their own audio and video recordings, covering topics including project planning and preparation, working with collaborators, selecting gear, practicing for studio recordings, and designing and producing videos.

Within percussion pedagogy, rudiments serve as foundational components used to develop rhythmic and technical proficiency. While American, French, and Swiss rudimental drumming share common rudiments, there exist nuanced distinctions between these styles. Similarly, hip-hop rapper’s “flow” has evolved amid diverse regional, social, and emotional influences, shaping their rhythmic articulation. This study centers on the “golden age” of hip-hop (1986-1996), aiming to identify recurring patterns of “flow” and potential confluences between percussive rudiments and how rappers’ structure their rhythmic and melodic language. The examination of “flow” represents a relatively recent discourse within music theory, attracting scholarly attention concerning analytical methodologies using computer programs and diverse analytical lenses. Notably, scholars specializing in this domain have laid foundational groundwork, offering comprehensive insights into the nuanced aspects of flow dynamics. Although there exists a substantial body of research on flow analysis, limited scholarly attention has explored the correlation between rap music and the percussive facets inherent in snare drum performance. This study elucidates the connection between the intricacies of hip-hop flow and rudimental snare drum playing, culminating in four snare drum etudes emulating the flow of specific artists and regions.

The practice strategies that musicians employ can be made more effective by leveraging existing research about memory and learning. Musicians often use strategies that feel intuitive, such as massed practice and rote repetition, but that research has proven ineffective. When they do employ strategies that are effective, such as varied practice and chunking, they often do not understand the reasons why they are effective and therefore cannot use the principles behind effective learning to generate new approaches when faced with an unfamiliar challenge or learning plateau. In this paper, I propose that, through developing knowledge of the research surrounding learning and memory, musicians can acquire insight into the learning process and develop the ability to self-generate effective practice strategies that address issues specific to their own practice. As a result, they can avoid common learning pitfalls and gain greater confidence in their ability to approach learning complicated skills and taking on big projects. This paper examines and distills recent research of effective learning into an in-depth and practical document for use by musicians. Additionally, this document interprets and applies existing research-based learning strategies—such as retrieval practice, spaced repetition, varied practice, interleaved practice, and chunking—to musical practice through the lens of contemporary percussion repertoire. Readers of this work will develop an in-depth understanding of memory and learning and be able to apply that information practically and immediately in their own practice.

Music memorization is a very broad topic with many variables, which changes from case to case. This study mentions historical development, benefits of memorizing music, challenges musicians face with music memorization, and current methods and strategies. It summarizes experiments and studies in various fields including visual design, neuroscience, music, and physiology. It aims to help musicians to make a better judgment in the future about whether to memorize a certain piece of music or not, and to provide effective strategies that can be used.

Noting a lack of solo repertoire for two popular keyboard percussion instruments, the glockenspiel and xylophone, I set out to bring the two instruments up to a level where both could be recognized as vehicles for solo performance. I decided to collaborate with three composers who are not percussionists: Nick Bentz (fitful machinery for solo glockenspiel and fixed media), Ashlee Busch (Elements for solo xylophone and crotales), and Hunter Long (We’ve always had time on our side for solo xylophone and percussion ensemble). By collaborating with these three young composers, I hope to elevate the stature of these underutilized percussion instruments. This document provides information about each composer, the commissioning process, and examinations of each work. In addition, I will discuss some of the challenges of working with non-percussionist composers, issues on performance practice, and my solutions to those challenges.

The percussion ensemble pieces of the 1930s and 1940s have many performance practice and instrumental selection considerations when performed in the modern day. The four pieces of music under consideration for this study are Ionisation (1933) by Edgard Varèse, Ostinato Pianissimo (1934) by Henry Cowell, First Construction (In Metal) (1939), and Third Construction (1941), both by John Cage. These works have stood the test of time, and are still an important part of today’s percussive literature. As with many historical works, issues such as interpretation and instrument selection arise when performed in the twenty first century. This project aims to provide general considerations and specific solutions when preparing these works for performance. The research conducted in this paper will help percussionists and musicologists alike further understand how to properly replicate the early percussion ensemble music, if the performers objectives are to emulate the composers’ original intentions.