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In Percussion Pedagogy, author Michael Udow offers a practical guide for students interested in teaching percussion as well as improving their technique. Udow first introduces the bouncing ball system, a technical analogy that teaches students to resist the effects of inertia. Throughout the book, the bouncing ball analogy develops into a core performance principle based on integrated motions resulting in refined tone quality and meaningful musicianship. The book applies this principle to several instruments including snare drum, timpani, marimba, vibraphone, multiple-percussion, tambourine and triangle, bass drum, cymbals, tam-tams, and a variety of Western concert and world percussion repertoire. In particular, Udow addresses the importance of coupling stroke types with stickings to set the foundation for precise rhythmic playing and expressive musicality. Chapters also focus on integrated rhythms, breath, and pulsed rhythms, anatomy and physiological health, psychological health, purposeful listening, and the importance of singing when practicing. Offering solutions to common performance problems, the book's many examples serve as a paradigm for future problem solving. A comprehensive companion website complements Udow's teachings with a wealth of video tutorials and listening examples.
Timpani traditions and beyond
Designed as a core text for college level courses in percussion methods and pedagogy, Teaching Percussion is a comprehensive, up-to-date introduction to teaching methodology and performance techniques. Now updated, Teaching Percussion helps students and performers develop musical understanding and performance skills on some fifty percussion instruments. The Second Edition includes coverage of new developments in world music instruments and performance. In addition, Norman Weinberg, cofounder of the PAS World Percussion Network, has contributed a discussion of electronic percussion and new technology. The outstanding exercises, musical examples, photographs, illustrations, practical advice, and bibliographies - popular features in the first edition - have been retained and enhanced. Teaching Percussion, Second Edition, is an invaluable resource for students, faculty, and performers alike.
SamulNori is a percussion quartet which has given rise to a genre, of the same name, that is arguably Korea’s most successful ’traditional’ music of recent times. Today, there are dozens of amateur and professional samulnori groups. There is a canon of samulnori pieces, closely associated with the first founding quartet but played by all, and many creative evolutions on the basic themes, made by the rapidly growing number of virtuosic percussionists. And the genre is the focus of an abundance of workshops, festivals and contests. Samulnori is taught in primary and middle schools; it is part of Korea’s national education curriculum. It has dedicated institutes, and there are a number of workbooks devoted to helping wannabe ’samulnorians’. It is a familiar part of Korean performance culture, at home and abroad, in concerts but also in films and theatre productions. SamulNori uses four instruments: kkwaenggwari and ching small and large gongs, and changgo and puk drums. These are the instruments of local percussion bands and itinerant troupes that trace back many centuries, but samulnori is a recent development of these older traditions: it was first performed in February 1978. This volume explores this vibrant percussion genre, charting its origins and development, the formation of the canon of pieces, teaching and learning strategies, new evolutions and current questions relating to maintaining, developing, and sustaining samulnori in the future.