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TSB II - Oral Presentations

Nicholas Papador
Timothy Roth
Martin Daigle
Tori Sparks & Sage Hegason-Stoyanowski
Gina Ryan
Daniel Akira Stadnicki
Fabrice Marandola
Vessels of Song: A Visual Timeline of Klezmer Percussion Instruments and Performers - Nicholas Papador

Nicholas Papador discusses his recently completed book, ‘Vessels of Song: A Collection of Klezmer Suites for Mallet Ensemble.’ Arrangements from the text are already programmed for upcoming concerts previews at the University of Windsor and the Wells-Rapp Center for Mallet Percussion Research at Kutztown University. This presentations starts with an introduction detailing the history and techniques of klezmer percussion as well as precedents for performing the repertoire on mallet percussion instruments. The presentation will also discuss historical klezmer percussion figures such as Michal Józef Guzikow, Joseph Moskowitz, and Jacob Hoffman. The session will include with video examples from the book and discussion of their historical and cultural relevance in today’s political climate. device’s controller and offering perfect synchronization between sounds. 

New Ways for Old Works: reconstructing electroacoustic works by Beecroft, Frykberg, and Saint-Marcoux - Tim Roth

In the growing history of classical music performance with mixed media, older works have become increasingly difficult to perform as electronic media and machinery used in the works become increasingly difficult to preserve or reproduce. This presentation outlines the preparation and rehearsal process for “New Ways for Old Works”, a concert featuring relatively older works written by women for performers–largely percussionists–with mixed media). The concert was hosted at the Technology and Performance Integration Research (TaPIR) Lab at U of T, and featured pieces by Norma Beecroft, Susan Frykberg and Micheline Coulombe Saint-Marcoux to showcase historical works that are rarely performed due to lack of technical documentation, poor preservation of media or obsolete technology. Tim Roth discusses his methods for reconstructing older works for live electronics and the various stages and decisions that were made in order to prepare these works for modern-day performance. 

Gesture analysis methods for studying drummer balance and technique - Martin Daigle

The intense nature of drum kit performance can lead to playing-related musculoskeletal disorders if proper posture, balance, and technique are not respected. Many drummers experience back pain, and it is essential to understand how risks differ between drummers depending on the nature of their personal practice. Martin Daigle presents his investigation into lower limb movement, balance, and posture amongst drummers playing different styles of music (jazz, rock, and metal).  Drummers of different musical backgrounds were recruited to learn and perform various excerpts. Through interviews and quantitative data from infrared motion capture and force plate (beneath the drummer’s seat), we observed differences in lower limb technique as participants played the three styles. This research demonstrates how genre affects drumming movements and an understanding of how technique varies across genres could help promote healthy practice based on the performance of musical styles.

Building a Prairie Percussion Community : An analysis of pedagogical strategies for percussion education - Victoria Sparks and Sage Helgason-Stoyanowski

Victoria Sparks and Sage Helgason-Stoyanowski are curious and committed to promoting creative expression in percussionists of all ages and developing confidence in the instrument area that will grow as students reach their middle and high school years. Sparks established the Prairie Percussion Workshop in 2012 as an opportunity for percussion students in middle and high school to develop their technical abilities on a full range of percussion areas.  Helgason-Stoyanowski has been studying music education as a classical percussionist for the past four years and is  curious about  ways that percussion instruments can be used in elementary music classrooms.  Together, Sparks and Helgason-Stoyanowski look at a 10- year history of student participants and feedback from parents as well as transcripts from semi-structured interviews with music educators and observation notes. The findings explore music educators’ construction of identity, personal practical knowledge, and the importance of percussion education in classrooms and community programs. By doing this, they are working towards answering the question: how can educators help to change the impression that percussion is being hidden behind a mythical barrier?

Exploring Regeneration Through the Lens of Research-Creation : An inquiry into dance and percussion - Gina Ryan

Percussionists and dancers have long worked together in various musical contexts and genres, and this inter/intra-disciplinary nature of dance and music collaboration, allows us to push boundaries and blur roles between dancer and percussionist. When the percussionist’s movements and the dancer’s sounds contribute to a work, how does this dual role inform creation and performance? What tensions may be experienced in the creative process? Through the co-creation of « L’eau au ciel ouvert », a work for vibraphone, crotales, water, metallic plate, metal pipes and gesture, we explore daylighting streams, which is the act of restoring an open stream to allow access to daylight by removing barriers, such as concrete and other cover elements, to improve ecological conditions. What does it mean to give a stream access to light? We explore this notion in a biological sense and metaphorically through art and analyze the creative process that intersect of dance and gesture / music and sound by responding to these questions.

Drumming Up Theory : Calling and Responding to John Mowitt’s 'Percussive Field' - Daniel Akira Stadnicki

Over twenty years since its publication, John Mowitt’s enigmatic book, Percussion (2002) continues to stand alone for its experimental investigations of rhythm and drumming. At times far-reaching and conceptually disorienting, Mowitt demonstrates how a broad and generous view of percussive phenomena can produce new and exciting directions in critical and cultural theory (defined as ‘the percussive field’), foregrounding the unique position of drumming practitioners and educators as key contributors to its nascent theoretical discourse.  In this presentation, Daniel Akira Stadnicki will explore Mowitt’s multivalent concept of the percussive field as a collaborative space for theoretical discourse, articulated through the lens of research-creation. Drawing upon his ‘taikoboy99’ project—which figures the drum kit as a distinct ‘worlding’ technology—this presentation provides analytical prompts for practitioners engaging in drumming and percussion research.

Paradigmatic Analysis in Xenakis music for percussion - Fabrice Marandola

Iannis Xenakis composed several masters works for solo percussion (Psappha, Rebonds) and for percussion ensemble (Persephassa, Pleiades, Idmen B, Okho), most of them staples of today’s percussion repertoire. Known to be particularly challenging to perform, these pieces share many features related to their instrumentation and to their rhythmic and polyrhythmic organization, but where the ‘melodic’ aspect plays also an important role. Borrowing tools developed by Simha Arom to study the polyphonies and polyrhythms of Sub-Saharan African music, I will propose different strategies to analyze Xenakis’ works for percussion, with special reference to paradigmatic analysis and the recourse to rhythmic vs. metric transcriptions. Examples from Rebonds, Psappha and Pleaides will be used to illustrate applications of such analytical methods and how performers can benefit from it.