Academic literature on the topic 'Drum soloing'
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Journal articles on the topic "Drum soloing"
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Zhang, Y. T., Y. L. Cheng, H. X. Wu, and Y. P. Liao. "Intelligent music accompaniment system based on discrete wavelet transform." Journal of Physics: Conference Series 2345, no. 1 (September 1, 2022): 012021. http://dx.doi.org/10.1088/1742-6596/2345/1/012021.
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Abstract Instrument players usually play music with an unstable tempo. However, most of the robotic accompaniment systems are designed with a fixed beat. They can’t adjust their tempo to players’ tempo automatically. Therefore, we propose an adaptive accompaniment system for a soloist that can follow the tempo of a guitar player. The system includes a sound signal receiving element, an audio processing module, a robotic drumming system, and an information display device. The guitar signal is processed with the discrete wavelet transform, audio feature extraction, and peak detection to estimate the tempo of a piece of music, also known as the Beats Per Minute (BPM). In this research, the Daubechies Wavelet (db) is used for signal extraction and reconstruction. The experimental results validate wavelet five (db5) was the effective signal processing method. At the same time, the pedals are also designed to allow the guitarist to change the combination of bass drum and snare drum according to the performance needs. In the research, the guitar signal can be efficiently processed by Discrete Wavelet Transform and then control the drum to follow the guitarist’s tempo.
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Scott, E. K. Ellington. "Drums speak too: An examination of modern percussion instruments in the jazz idiom." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A183. http://dx.doi.org/10.1121/10.0011036.
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Jazz has been a leading force in the evolution of music in the United States. The complexity of rhythmic and harmonic languages has grown from the birth of jazz improvisation. Modern percussion instruments played a fundamental role in the development of rhythmic language. Improvised figures between the soloist and sectionals have cultivated a vocabulary still utilized by modern drummers and percussionists today. Moreover, evolving styles matured into a more sophisticated language, demanding a more refined instrument. This presentation explores the development of modern percussion instruments within jazz and improvised music, focusing on the historical and cultural aspects impacting the evolution of percussion instruments. Investigations of stylistic approaches and influences on musical styles will also be examined.
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Gerstin, Julian. "Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean." New West Indian Guide / Nieuwe West-Indische Gids 78, no. 1-2 (January 1, 2004): 5–41. http://dx.doi.org/10.1163/13822373-90002516.
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Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as chica. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba. In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes. He nonetheless concludes from them that slaves from the Congo/Angola region probably played a crucial role in forming these early dance styles, and that their spread was connected with French colonialism and slavery and migrations from (once) French colonies. He describes probable Congolese/Angolan influences, such as pelvic isolation, challenge dances, couple dancing within a circle, and transverse drumming, but indicates that these are over time combined with other African and other influences.
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Konturek, SJ, T. Radecki, and T. Brzozowski. "Antiulcer and gastroprotective effects of Solon, a synthetic Savonoid derivative of sophoradin. Role of endogenous prostaglandins." Journal of Ethnopharmacology 19, no. 3 (May 1987): 340. http://dx.doi.org/10.1016/0378-8741(87)90026-2.
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Anderson, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (January 2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.
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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's the final part of a trilogy of works written for the percussionist Colin Currie – opens with a vibraphone pattern that suggests a lyrical music-box and soon shows a stylistic affinity with American minimalism, which alternates with slabs of good-natured energy. The slow movement begins with tremolo marimba chords over string lines that drift aimlessly and agreeably, with a more active central section spurred by brief brass figures which trigger rising scalic patterns in the vibraphone. The initial material returns with soft-centred strings above hypnotic vibraphone figuration and is sung to a close by the rapturous sound of bowed vibraphone chords. The finale likewise deals in cheerfully mesmeric vibraphone patterns over a wash of strings and stuttering comment from horns and trumpets; the soloist then offers an improvised toccata on drum-kit backed by forceful rhythms from a near-tutti orchestra. The vibraphone resumes its jolly prattle until, seemingly having run out of things to say, the music just stops dead. Currie, supported by the Bournemouth Symphony Orchestra under the functional Marin Alsop, played it with obvious commitment, and from memory – no small achievement in such motoric music.
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Latif, Bakhrudin. "Pemanfaatan Kayu Sonokeling Sebagai Bahan Baku Pembuatan Bars Xylophone." Grenek Music Journal 10, no. 2 (November 15, 2021): 69. http://dx.doi.org/10.24114/grenek.v10i2.29014.
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Xylophone adalah salah satu instrumen musik perkusi yang digunakan dalam proses belajar mengajar praktik di Jurusan Musik ISI Yogyakarta, instrumen musik ini biasa digunakan pada Mata Kuliah Instrumen Mayor/Solois, Mata Kuliah Ansambel maupun Mata Kuliah Orkes. Selain digunakan sebagai instrumen perkuliahan, Xylophone juga digunakan dalam kegiatan Drum Band dan Marching Band. Pada umumnya nada-nada Xylophone terdiri dari nada F3 sampai nada C7 dengan jumlah bars 44 buah. Penalaan nada atau penyelarasan bunyi Xylophone produksi pabrik adalah nada A4 pada frekwensi 442 Hz. Pembuatan bars yang dilakukan oleh produsen Xylophone komersil/merk pabrik, menggunakan bahan baku kayu Honduran Rosewood. Dengan mengetahui bahwa di Indonesia memiliki kayu jenis rosewood yang dikenal dengan nama kayu sonokeling atau Indian Rosewood, maka diperlukannya tindakan pemanfaatan kayu sonokeling sebagai alternatif kayu dalam pembuatan bars Xylophone. Tujuan penelitian ini adalah untuk mengetahui kelayakan kayu sonokeling jika digunakan sebagai bahan baku pembuatan bars Xylophone, yaitu mengetahui cara penalaan atau penyelarasan nada bars Xylophone berbahan baku kayu sonokeling. Penelitian ini menggunakan pendekatan kualitatif yang bersifat deskriptif. Sumber data dalam penelitian ini adalah peneliti yang melakukan pembuatan bars Xylophone dan narasumber dari praktisi perkusi yang berdomisili di Yogyakarta. Analisis data memiliki empat tahap yaitu pengumpulan data, reduksi data, penyajian data, penarikan kesimpulan dan verifikasi. Pengumpulan data dilakukan dengan observasi, wawancara, dan dokumentasi. Hasil yang dari penelitian ini adalah menghasilkan produk bars Xylophone menggunakan bahan baku kayu sonokeling yang nadanya bisa dilaraskan sesuai dengan nada-nada Xylophone yaitu nada F3 sampai dengan nada C7 seperti Xylophone produk komersil, juga menghasilkan produk bars Xylophone yang harganya lebih murah dari pada harga Xylophone produk komersil.
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Erlikh, Alexey D., Alexey D. Erlikh, and Dar'ia V. Riabova. "Sodium-glucose co-transporter-2 inhibitors in patients with heart failure. What's new? What are the prospects?" Consilium Medicum 23, no. 1 (2021): 48–51. http://dx.doi.org/10.26442/20751753.2021.1.200681.
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This review presents the main results of recently (in 2020) published clinical studies investigating additional properties of drugs of the family of sodium-glucose co-transporter type 2 (SGLT2) inhibitors in patients with heart failure (HF). Of these, the most important is the EMPEROR-Reduced study which demonstrates the superiority of empagliflozin over placebo in preventing cardiovascular death and hospitalization for HF in patients with chronic HE with reduced left ventricular ejection fraction (LVEF). An important finding of this study is that, as in a recent study with a similar design with dapagliflozin – DAPA-HF, the benefit of SGLT2 inhibitors was independent on the presence or absence of diabetes mellitus in patients. The use of empagliflozin in patients with acute HF was studied in the EMPA-RESPONSE-AHF pilot study, in which, although there was no difference between placebo and the drug in the effect on the primary endpoint events, there was a clear trend towards improvement in clinical outcomes under the treatment with empagliflozin after 1 and 2 months of follow up. Administration of another member of the SGLT2 inhibitors family – sotagliflozin – in the SOLOIST-WHF study in patients with diabetes and recent worsening HF (with any LVEF) was associated with a significant decrease in adverse events. In the VERIT CV study, another SGLT2 inhibitor, ertugliflozin, although it had no effect on long-term outcomes in patients with diabetes and cardiovascular disease, was better than placebo in preventing hospitalization for heart failure. Overall, the recently completed studies of SGLT2 inhibitors show that drugs of this family, which already play an important role in the treatment of patients with HF with reduced LVEF, may in the future become an important component of therapy in a wider range of patients with various types of HF. Keywords: heart failure, sodium-glucose co-transporter type 2 inhibitors, empagliflozin, dapagliflozin, sotagliflozin, cardiovascular death For citation: Erlikh AD, Riabova DV. Sodium-glucose co-transporter-2 inhibitors in patients with heart failure. What's new? What are the prospects? Consilium Medicum. 2021; 23 (1): 48–51. DOI: 10.26442/20751753.2021.1.200681
Dissertations / Theses on the topic "Drum soloing"
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Baldwin, Joshua. "Singing the Beat: The Application of Melodic Drumming Approaches in a Contemporary Small Jazz Ensemble." Thesis, 2020. http://hdl.handle.net/2440/128787.
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Part A: Sound recordings -- Part B: ExegesisThis practice-based research project has investigated the different melodic approaches developed by selected jazz drummers as both soloists and accompanists, with the ultimate aim of incorporating these concepts into my own performance in a recital setting. I chose four drummers as the focus of this project: Max Roach, Roy Haynes, Bill Stewart and Ari Hoenig. Through transcription and analysis of recordings, I identified and classified the melodic concepts used by each drummer. Specific exercises were then composed for each melodic concept as a tool to aid their integration into my own playing. I practiced these exercises both in a small ensemble setting and independently, maintaining a sonic diary for each session. Reflecting on the successes and failures of each exercise helped guide the development of future exercises in an iterative process. The project has culminated in two one-hour recorded recital performances in which I led various small ensemble settings, and an exegesis.
Thesis (MPhil) -- University of Adelaide, Elder Conservatorium of Music, 2020
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Chen, Kuan-Yi, and 陳冠毅. "The Analysis and Interpretation of 1990 Drum Soloist in Taiwan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/b58rby.
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碩士國立臺灣師範大學
流行音樂產業碩士專班
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Drum set has been invented for more than one hundred years. The earliest combination of drums are bass drums and snare drums. And then it slowly developed into a modern drum set with more drums and cymbals. This research will explain the origin and development of drums, and then introduce the construction and timbre. Musically speaking, in the early Taiwan days, drummers in Taiwan played Pop music or Jazz in the night clubs and dance clubs. Along with the development of recording technology, in 1990 drummers in Taiwan started to release solo albums. This research will provide the background and achievement of the following drummers: Rich Huang, Shou-Shin Lee, Steven Chang, Fish Huang, Steve Chen and Allen Chen. For each drummer, a solo track (including the tempo, style of groove, rhythm and solo) will be analyzed.
Books on the topic "Drum soloing"
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Brooks, Cliff. Rumba Soloing Technique, Volume 1: Afro-Cuban Conga Drum Improvisation. Mel Bay Publications, Inc., 2016.
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Houghton, Steve. Drum Set Soloist / Houghton. Alfred Publishing Company, 1996.
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Feldstein, Sandy, and Fred Weber. Student Instrumental Course, Drum Soloist, Level I (Student Instrumental Course). Alfred Publishing Company, 1985.
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Feldstein, Sandy, and Fred Weber. Student Instrumental Course for Drum Soloist, Level I (Student Instrumental Course). Alfred Publishing Company, 1985.
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