Performance Practice in the Music of Steve Reich provides a performer's perspective on Steve Reich's compositions from his iconic minimalist work, Drumming, to his masterpiece, Music for 18 Musicians. It addresses performance issues encountered by the musicians in Reich's original ensemble and the techniques they developed to bring his compositions to life. Drawing comparisons with West African drumming and other non-Western music, the book highlights ideas that are helpful in the understanding and performance of rhythm in all pulse-based music. Through conversations and interviews with the author, Reich discusses his percussion background and his thoughts about rhythm in relation to the music of Ghana, Bali, India, and jazz. He explains how he used rhythm in his early compositions, the time feel he wants in his music, the kind of performer who seems to be drawn to his music, and the way perceptual and metrical ambiguity create interest in repetitive music.

Percussion music is both the oldest and most recent of musical genres and exists in diverse forms throughout the world. This Companion explores percussion and rhythm from the perspectives of performers, composers, conductors, instrument builders, scholars, and cognitive scientists. Topics covered include percussion in symphony orchestras from the nineteenth century to today and the development of percussion instruments in chapters on the marimba revolution, the percussion industry, drum machines, and the effect of acoustics. Chapters also investigate drum set playing and the influences of world music on Western percussion, and outline the roles of percussionists as composers, conductors, soloists, chamber musicians, and theatrical performers. Developments in scientific research are explored in chapters on the perception of sound and the evolution of musical rhythm. This book will be a valuable resource for students, percussionists, and all those who want a deeper understanding of percussion music and rhythm.

Percussion music is both the oldest and most recent of musical genres and exists in diverse forms throughout the world. This Companion explores percussion and rhythm from the perspectives of performers, composers, conductors, instrument builders, scholars, and cognitive scientists. Topics covered include percussion in symphony orchestras from the nineteenth century to today and the development of percussion instruments in chapters on the marimba revolution, the percussion industry, drum machines, and the effect of acoustics. Chapters also investigate drum set playing and the influences of world music on Western percussion, and outline the roles of percussionists as composers, conductors, soloists, chamber musicians, and theatrical performers. Developments in scientific research are explored in chapters on the perception of sound and the evolution of musical rhythm. This book will be a valuable resource for students, percussionists, and all those who want a deeper understanding of percussion music and rhythm.

Al momento de esta edicion, existen en el planeta aproximadamente 20 titulos dedicados al conocimiento y ensenanza del tabla, de los cuales tres estan escritos en hindi, uno bilingue (hindi e ingles) y el resto en ingles. Por ello el autor sintio la necesidad de escribir este libro en espanol. El fascinante mundo del tabla, es un compendio de investigaciones de sus libros de consulta, anotaciones durante clases en el Instituto Gandharva Mahavidyalaya, informacion recibida en clases privadas, largas horas de aprendizaje, y conversaciones con sus maestros en Nueva Delhi y Varanasi (India), asi como en Katmandu (Nepal). Informacion que ha venido acumulando y que ahora plasma en este primer libro editado en idioma espanol sobre la musica del norte de la India y del instrumento clasico de percusion denominado tabla. Durante los anos que vivio en la India el autor estudio dos de esas escuelas tradicionales, la dilli gharana en la Gandharva Mahavidyalaya, Nueva Delhi, y la benares gharana, que estudio undamentalmente bajo la supervision y control de Pt. Kishan Maharaj (1923-2008) en Varanasi. Esta ensenanza fue al estilo tradicional conocido como guru-shishya parampara, ademas tuvo el honor de recibir de sus propias manos la ganda bandh shagird. Otros de sus maestros Pt. Ramkumar Mishra (nieto de Pt.Anokhelal Mishra, 1914-1958), Pt.Kishori Kumar Mishra, y Shubh Maharaj (nieto de Pt. Kishan Maharaj, 1923-2008). Ademas de un Junior diploma en tabla de la Prayag Sangeet Samiti, Allahabad, India. Dha Maharaj en su actividad como ejecutante del tabla, en los ultimos anos ha acompanado a bandas y artistas de diferentes estilos y generos musicales, como son el reggae, blues, jazz, pop, ska, flamenco, rock & roll como la leyenda viviente Ptt Lizardo y Pablo Dagnino, fusion con Hector Buitriago, la banda Gaelica; asi como participado como invitado en proyectos de la banda de ska Desorden Publico (Las estrellas del Caos. 2007), el guitarrista Bartolome Diaz (Ageless Friends. 2008), y con el guitarrista Emilio Mendoza (Emilio Mendoza & Ozono Jazz - Natura. 2009) con quien en los ultimos 9 anos viene tocando el tabla en sus diferentes formatos. El autor hasta la fecha ha compuesto dos obras de expresiones plasticas como son la danza contemporanea (Improvisaciones en teen taal, para bailarin y tabla) y la poesia (Cuatro poetas y un tabal-ji). Suele cooperar con la Embajada de la India en Caracas y con agrupaciones que practican disciplinas religiosas hindues, yoga y cantos devocionales, junto a organizaciones reconocidas como son los Hare Krishna, Amma, Sai Baba y Ananda Marga. En la medida de lo posible y motivado por su deseo de difundir la musica de la India, Dha Maharaj trata de asistir a congresos, impartir charlas, dar clases privadas y publicas, y ofrecer seminarios de ritmica del norte de la India a percusionista profesionales expertos en musica popular y musicos clasicos academicos de musica occidental, como es el caso de la Fundacion del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela - (FESNOJIV) invitado por el profesor Edgar Saume (bateria) o en el seminario Los latidos del Planeta que en su primera edicion agrupo a destacados percusionista venezolanos como son el maestro Carlos "Nene" Quintero, (percusionista afro latino), Carlos Rojas Zoccolo (percusion brasilena) y Elio Fernandez (bateria de rock & roll), acto realizado en las salas de UNEARTE Bellas Artes en la ciudad de Caracas, Venezuela. El fascinante mundo del tabla, es el primer libro escrito en espanol sobre la musica clasica de la India y enfocado primordialmente al instrumento de percusion del norte de India conocido como tabla. Su autor, el musico venezolano Dha Maharaj (Ulises J. Farias Yeguez) de una forma simple y amena traza la historia de la musica India, sus estilos, los instrumentos musicales melodicos y de percusion (del norte y sur), el sistema de notac"

Ce livre presente une exploration etendue des possibilites sonores liees a la systematisation d'un effet particulier deploye par le vibraphoniste Andre Cayer: le bending tone. Il inclut egalement l'information pertinente a sa realisation concrete et efficace, permettant de l'integrer de facon systematique dans une interpretation musicale fluide. Le potentiel offert par cette nouvelle approche developpee par Andre Cayer ouvre la voie a une toute nouvelle facon d'aborder le vibraphone de facon beaucoup plus expressive qu'auparavant.

Sheila E., born Sheila Escovedo in 1957, picked up the drumsticks and started making music at the precocious age of three, inspired by her legendary father, percussionist Pete Escovedo. By nineteen, she had fallen in love with Carlos Santana. By twenty-one, she met Prince at one of her concerts. After the show, he told her that he and his bassist "were just fighting about which one of us would be your husband." Sheila E. and Prince would eventually join forces and collaborate for more than two decades, creating hits that catapulted Sheila to her own pop superstardom. The Beat of My Own Drumis both a walk through four decades of Latin and pop music-from her tours with Marvin Gaye, Lionel Richie, Prince, and Ringo Starr-to her own solo career. At the same time, it's also a heart-breaking, ultimately redemptive look at how the sanctity of music can save a person's life. Having endured sexual abuse as a child, Sheila credits her parents, music, and God with giving her the will to carry on and to build a lasting legacy. Rich in musical detail, pop and Latin music history from the '70s and '80s, and Sheila's personal story, this memoir is a unique glimpse into a drummer's singular life-a treat for both new and long-time fans of Sheila E. And above all, it is a testament to how the positive power of music serves as the heartbeat of her life.

In Rhythm Makers: The Legendary Drummers of Nashville in Their Own Words, Tony Artimisi documents through extensive interviews the work of some of the most influential drum kit players in popular music today, opening a window onto one of the most vibrant music scenes in modern American history. Telling their stories in their own words, each legendary figure walks readers through the realities of how musical opportunities arise in Nashville, how the recording process has changed over time, what it is like to drum behind some of the top artists in American music, and how one makes it as a professional drummer. Artimisi's subjects together have performed on literally thousands of recordings, from master recordings to demos, jingles to sound-alikes. Having played behind nearly everyone who passed through Nashville, from Dolly Parton and Elton John to Glen Campbell and Johnny Mathis, Eddie Bayers Jr. regales readers with stories of the many areas in the industry he worked to build his legendary career. Master drummer Jerry Kroon, whose credits include work with Ricky Skaggs, Willie Nelson, Merle Haggard and numerous others, shares his secret for maintaining good relationships with various personality types in music. Percussionist extraordinaire Tom Roady, who has recorded with Wilson Pickett, The Dixie Chicks, and Kenny Chesney-too name but a few-offers insights into what makes a drummer in his recollection of his career start. One of the most inventive instrumentalists, Kenny Malone, who has worked with Waylon Jennings, Garth Brooks, Johnny Cash and many more, discusses his own unique experiments in drumming technique in order to maintain his creative edge. Finally, Tommy Wells, whose career beginnings in Motown led him to Nashville, where he drummed for Charley Pride, The Statler Brothers, and The Charlie Daniels Band, offers a true insider's perspective offering insights into how jingle and sound-alike sessions operate, which can be a valuable part of the professional sideman's work. This work is the ideal for readers interested in the history of country music and the Nashville recording scene more generally, record and music production, popular music, and drumming as both art and profession.

In 1942, drummer Viola Smith sent shock waves through the jazz world by claiming in Down Beat magazine that "hep girls" could sit in on any jam session and hold their own. In Women Drummers: A History from Rock and Jazz to Blues and Country, Angela Smith takes Viola at her word, offering a comprehensive look at the world of professional drumming and the women who had the courage and chops to break the barriers of this all-too-male field. Combining archival research with personal interviews of more than fifty female drummers representing more than eight decades in music history, Smith paints a vivid picture of their struggles to overcome discrimination-not only as professional musicians but in other parts of their lives. Women Drummers outlines the evolution of female drumming from pre-biblical times when women held important leadership roles to their silencing by the church during the Middle Ages to spearheading the fight for women's rights in the modern era. The stories and personal accounts of female drummers who bucked tradition and societal norms are told against the backdrop of the times in which they performed and the genres they represented, from rock and jazz to blues and country. Although women have proven time and time again that they can more than hold their own against their male counterparts, female drummers not only remain a minority, but their contributions have been obscured by the traditional chauvinistic attitudes in the music business and gender stereotypes that surround the drum itself as a "male" instrument. Women Drummers takes a major step forward in undoing this misconception by acknowledging the talent, contribution, and growing power of women drummers in today's music environment.

Steel Drums and Steelbands: A History is a vivid account of the events that led to the "accidental" invention of the steel drum: the only acoustic musical instrument invented in the 20th century. Angela Smith walks readers through the evolution of the steel drum from an object of scorn and tool of violence to one of the most studied, performed, and appreciated musical instruments today. Smith explores the development of the modern steelband, from its roots in African slavery in early Trinidad to the vast array of experiments in technological innovation and to the current explosion of steelbands in American schools. The book offers insights directly from major contributors of the steelband movement with sections devoted exclusively to pioneers and innovators. Drawing on seven years of research, repeated trips to the birthplace of the steel drum, Trinidad, and interviews with steelband pioneers, Smith takes readers far beyond the sunny associations of the steel drum with island vacations, cruise ships, and multiple encores of "Yellow Bird." Digging deep into Trinidad's history-a tale of indigenous extermination and African slavery, of French settlement and Spanish and British colonialism before mid-century independence-Smith weaves an unforgettable narrative of talking drums, kalinda stick fights, tamboo bamboo bands, iron bands, calypso, Carnival, and the U. S. military. Together, all played major roles in the evolution of today's steelband and in the panman's journey from renegade to hero in the steelband's move from the panyards of Trinidad's poorest neighborhoods to the world's most prestigious concert halls. The reader will discover how an instrument created by teenage boys, descendants of African slaves, became a world musical phenomena. Steel Drums and Steelbands is the ideal introduction to the steel drum, steelbands, and their history.

This generously illustrated book records the story of Russia's bells--the thousands of awe inspiring instruments that gave voice to the visual splendors of Russian Orthodoxy and to the political aspirations of the tsars.

Originally published in 1986.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Based on extensive ethnographic fieldwork in New York and Dakar, this book explores the Senegalese dance-rhythms Sabar from the research position of a dance student. It features a comparative analysis of the pedagogical techniques used in dance classes in New York and Dakar, which in turn shed light on different aesthetics and understandings of dance, as well as different ways of learning, in each context. Pointing to a loose network of teachers and students who travel between New York and Dakar around the practice of West African dance forms, the author discusses how this movement is maintained, what role the imagination plays in mobilizing participants and how the 'cultural flow' of the dances is 'punctuated' by national borders and socio-economic relationships. She explores the different meanings articulated around Sabar's transatlantic movement and examines how the dance floor provides the grounds for contested understandings, socio-economic relationships and broader discourses to be re-choreographed in each setting.

Modeled on the brilliant approach first formulated by distinguished professor of music and master clarinetist Michele Gingras in Clarinet Secrets and More Clarinet Secrets (both available from Scarecrow Press), the Music Secrets for the Advanced Musician series is designed for instrumentalists, singers, conductors, composers, and other instructors and professionals seeking quick pointers to improve their work as performers and producers of music. Easy to use and intended for the advanced musician, contributions to Music Secrets fill a niche for those who have moved beyond what beginners and intermediate practitioners need. Drum Kit Secrets: 52 Performance Strategies for the Advanced Drummer is an indispensable guide for any drum kit player. Drummer and historian Matt Dean covers a broad range of drum kit-related subjects to assist drummers already well versed in the instrument to advance and polish their skills for both live and studio performance. Drum Kit Secrets includes topics and tips on how and what to practice; how to develop one's timing and master the metronome; how to prepare for auditions and overcome stage fright; how to stay healthy as a drummer through proper eating, tried-and-true warm-up routines, and correct drum kit set up; how to select and maintain drum equipment; and how to create drum solos and improvise with ease. He also includes tips and tricks for mastering the studio setting, getting the most from one's drum kit, writing quick and easy drum charts, preparing for gigs, marketing oneself as a drummer, and much more. Drum Kit Secrets is the perfect resource for intermediate-level amateurs to working professionals. Dean draws on his many years as teacher and drum professional in this unique compilation of tips and performance strategies for advanced and expert players.

Steel Drums and Steelbands: A History is a vivid account of the events that led to the "accidental" invention of the steel drum: the only acoustic musical instrument invented in the 20th century. Angela Smith walks readers through the evolution of the steel drum from an object of scorn and tool of violence to one of the most studied, performed, and appreciated musical instruments today. Smith explores the development of the modern steelband, from its roots in African slavery in early Trinidad to the vast array of experiments in technological innovation and to the current explosion of steelbands in American schools. The book offers insights directly from major contributors of the steelband movement with sections devoted exclusively to pioneers and innovators. Drawing on seven years of research, repeated trips to the birthplace of the steel drum, Trinidad, and interviews with steelband pioneers, Smith takes readers far beyond the sunny associations of the steel drum with island vacations, cruise ships, and multiple encores of "Yellow Bird." Digging deep into Trinidad's history-a tale of indigenous extermination and African slavery, of French settlement and Spanish and British colonialism before mid-century independence-Smith weaves an unforgettable narrative of talking drums, kalinda stick fights, tamboo bamboo bands, iron bands, calypso, Carnival, and the U. S. military. Together, all played major roles in the evolution of today's steelband and in the panman's journey from renegade to hero in the steelband's move from the panyards of Trinidad's poorest neighborhoods to the world's most prestigious concert halls. The reader will discover how an instrument created by teenage boys, descendants of African slaves, became a world musical phenomena. Steel Drums and Steelbands is the ideal introduction to the steel drum, steelbands, and their history.

In The Drum: A History, drummer, instructor, and blogger Matt Dean details the earliest evidence of the drum from all regions of the planet, looking at cave paintings, statues, temple reliefs, and burial remains before finding existing relics of actual drums, which have survived thousands of years. Highlighting the different uses and customs associated with drumming, Dean examines how the drum developed across many cultures and over thousands of years before they became the instruments we know today. A celebration of this remarkable instrument, The Drum: A History explores how war, politics, trade routes, and religion have influenced the drum. Bringing its history to the present, Dean considers the modern cultural and commercial face of the drum, detailing its role in military settings and the development of the "modern drum kit." This study charts the evolution of the recording studio environment, as well as specific analysis of the development of drum heads, sticks, and the often overlooked role of women on the drum kit. In addition, there is a look at the continuing evolution of the drum and its role through surveys of main manufacturers and the increased dependence on electronic drums, sampling machines, and drum recorders. As the first book to detail the entire development of the drum, The Drum: A History will appeal to every drummer, regardless of genre or style, as well as any reader with a general interest in the evolution of this universal instrument.

Timpani Tone and the Interpretation of Baroque and Classical Music explores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts.
In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music.
Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: elements necessary to effectively communicate their part to listeners.

Timpani Tone and the Interpretation of Baroque and Classical Music explores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts.
In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music.
Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: elements necessary to effectively communicate their part to listeners.

Book & CD. The West African drum: the djembe is a very popular percussion instrument today. This book and CD combination is a study of the djembe rhythms and techniques that the author recommends as the basic repertoire for a djembe player. Made as a step-by-step system, this book starts with an introduction of the basic strokes on the djembe and contains 17 arrangements of important rhythms and styles of the malinke music. Following this material will provide you with a comprehensive repertoire of dynamic and exciting music. Have fun and enjoy it.

The age-old craft of bellfounding involves specialised techniques and equipment that have been passed down through generations and are still used today. For centuries, the large bells in churches, clocks and public buildings throughout Britain have been cast, hung, and tuned by bellfounders and this book surveys the history of bell production and the development of moulding and casting techniques. To achieve the correct pitch each bell would be hand corrected with a hammer and chisel, an extremely noisy process which continued until the nineteenth century when the mechanised lathe was introduced. This book describes the intricate tuning process and the role of the bellfounder and specially prepared photographs illustrate the production process of some of the most famous foundries in Britain, such as those at Whitechapel and Loughborough.