PARADIDDLE GROOVES

DRUM CIRCLE GURU ARTHUR HULL

Vol. 1, No. 2, April 2014

TMEA 2014 • Upcoming Events • Summer WorkshopsEnsemble and Recital Programs • Product Showcase • People and Places

PROTECTING YOUR HEARING

APRIL 2014 2 RHYTHM! SCENE

BECOME A MEMBER OF PAS

The Percussive Arts Society (PAS) is a music service organization promoting percussion education, research, performance and appreciation throughout the world.

Rhythm Scene is published six times a year: February, April, June, August, October and December by the Percussive Arts Society.

RS STAFF RickMattingly,Editor HillaryHenry,PublicationsProductionManager MarianellaMoreno,PublishingandDigitalMediaOperations

RS ADVERTISING StaciStokes-Waitessswaites@pas.org

PAS EXECUTIVE COMMITTEE JohnR.Beck,President JulieHill,President-elect JimRupp,FirstVicePresident BrianZator,Secretary LisaRogers,ImmediatePastPresident JeffHartsough,ExecutiveDirector

CONTACT PAS 110W.WashingtonStreet,SuiteA,Indianapolis,IN46204 Telephone:(317)974-4488•Fax(317)974-4499 E-mail:percarts@pas.org•Web:www.pas.org

IN THIS ISSUE ArthurHullandtheDrumCircle ExperienceHowLoudIsThat?PeopleandPlacesPASEducationCommitteeHotLicks:ParadiddleGroovesPASScholarlyResearch CommitteeIndustryNewsProductShowcaseTMEA2014UpcomingEventsSummerWorkshopsEnsembleandRecitalProgramsClassifiedsFromtheRhythm!Discovery Collection:Lujon

COPYRIGHT©2014bythePercussiveArtsSociety.ReproductionofanypartofthispublicationwithoutpermissionfromPASisprohibitedbylaw.

RHYTHM! SCENE THE NEWSLETTER OF THE PAS

APRIL 2014 4 RHYTHM! SCENE

ARTHUR HULL AND THE DRUM CIRCLE EXPERIENCEBY RICK MATTINGLY

ArthurHullhasbeencalledthefatherofthemodern-daycom-

munitydrumcirclemovement.Heisafacilitationtrainer,motivationalspeaker,experientialkeynotepre-senter,andamasteratfacilitatinggroupsofpeoplethroughmusicandrhythm.ThroughhisVillageMusicCircleshehastrainedthou-sandsofdrumcirclefacilitators,andhehasledrhythm-basedteambuildingandleadershipeventsforsuchorganizationsasAppleCom-puter,SiliconGraphics,Microsoft,TheWallStreetJournal,Sony,andToyota,amongmanyothers. WhenArthurbeganlead-ingdrumcirclesandtrainingfa-cilitatorsover20yearsago,manypeoplethoughtdrumcircleswouldprovetobejustanotherpassingfad.Butinadditiontotherecre-ationalandcommunity-buildingaspectsofdrumcircles,theyhavealsoproventobeofbenefittomusictherapistsworkingwithAlzheimer’spatientsandthewell-elderlypopulation,withcounselorsworkingwithkidsatrisk,withcor-porationsdoingteam-buildingac-tivities,inschools,andinavarietyofotherways. “Thisgroupdrummingphe-nomenahasexpandedintoevery-thingfrompre-nataltohospice,

andeverythinginbetween,”Hullsays.“Twentyyearsago,therecertainlywerepeopleintheindus-

trywhothoughtitwasafad.ButRemoBellisawthatitwasworthinvestingtimeandenergyinto.He

RHYTHM! SCENE 5 APRIL 2014

supportedalotofpeopleinthatcommunity,andIwasoneofthem.Hegotmeoutthereinternation-ally.” Indeed,drummingishappen-ingaroundtheworld,andmoreworld-drumminginfluencesarefindingtheirwayintotypicalAmer-icandrumcircles. “WestAfricandjembedrum-minghasbeentheentry-level,culturallyspecificdrummingex-perienceforalotofpeople,”Hullsays.“Ofcourse,djembesaretheloudestandsomeofthemostpowerfuldrums.Butalotofotherkindsofculturallyspecificdrum-mingarecomingintoourcom-munity.Congolesedrummingisbecomingbig,theBraziliansambaandbatucadahavebeenaroundforalongtimeandhavealargecommunity,ShonamarimbamusicfromZimbabweisbecomingmorepopular,Afro-Cubanpercussionisaliveandwell,andHaitianvodundrummingisbecomingpopular,aswellasbugarabudrummingfromMali,whichusesdrumsthatlookalittlelikedjembescalledbugara-bus.Thereisaculturallyspecificstyleofdrummingthatgoesalongwiththat,whichisnowstartingtoberecognizedandtaughtintheUnitedStates. “You’retalkingtoaguywhospendsmoretimeoutsidetheUnitedStatesthaninit,”Arthuradds.“BetweennowandPASIC[PercussiveArtsSocietyInterna-tionalConvention]inNovember,Iwillhavebeeninabout15coun-triesdoingmostlydrumfacilita-tionworkshops.SoI’mseeingtheworldmarketratherthanjustthe

U.S.market.Thereisamovementwithinthedrumcirclecommunitythatisbringinginsmall-timbrein-strumentslikeframedrums,doum-beks,andtalkingdrums,whicharesmalldrumsthatcan’tcompetewithadrumcirclethathasahun-dreddjembesinit.Butagooddrumcirclefacilitatorisfacilitat-ingdynamicsandlisteningsothateveryonegetsachancetohearandbeapartoftheexperience,whetheryouhavealouddrumorasoftdrum.TheRemoRecreationCenterhasaregularTuesdaynightcommunitydrumcirclewhereyouget120–150people.ThenonThursdaynighttheyhave“GrooveLounge”fordeeplistening.That’sthekindofdrummingthatI’mfind-inginternationally.Thatkindofdevelopment,newwithinthelastfiveyears,hasbeengrowingintheinternationalcommunityandin

theAmericancommunity.Youwillfindspecificdrumcirclesthatareadvertisedas‘deeplistening,small-drum,grooveexperiences’.” ThatveryexperiencetakesplaceatPASICwhere,inadditiontotheregularlate-nightdrumcircles,thereisa“RhythmLounge”inwhichpeoplebringinstrumentsonthesoftersideofthesoundspectrum.It’snotasloud,buttherhythmicdriveisoftenjustasin-tense. “We’vegonethroughalearn-ingprocessatPAS,andwearefo-cusingmoreandmoreonwhatwe,asaprofessionalpercussionorgani-zation,candotoservepeoplewhoaregeneratinganddevelopingthatjobdescriptioncalleda‘rhythm-eventfacilitator’,”Hullsays.“Whenyoubecomeafacilitator,allofasuddenyoufindyourselfinmanykindsofsituationsthatyouneedto

Basicdrumcirclefacilitationtechniques.FromtheDVDDrum Circle FacilitationbyArthurHull.Copyright©2009VillageMusicCircles.UsedbyPermission.

Taptoplayvideo

APRIL 2014 6 RHYTHM! SCENE

educateyourselfaboutandthatgoaboveandbeyondtheabilitytodostopcutsandtellpeople‘1,2,let’sallplay!’Ittakesadeepkindoflisteningandunderstandingoftheconstituencythatyou’reserving,andittakesmoreexpertisethanjustbeingagooddrummerandagoodfacilitatorwithcharisma. “Bringingeveryonetothe‘now’isthekeytoasuccessfulrhythm-basedevent.Itdoesn’tevenhavetobedrumming—every-onecanbeplayingshakers—anditisnotnecessarilyaboutmakingthebestmusicyoucanwiththisgroupofpeopleinfrontofyou.Itmightbeaboutgettingthepeopleinthecircletoconsciouslyparticipate,expandingtheirattention,creat-ingaspaceforthemtoexploreandexpresstheirrhythmicalspiritwithoutjudgment—withoutthink-ingthattheyhavetoperformforsomebody.” Aspopularasdrumcircleshavebecomearoundtheworld,manypeoplehavemisconceptionsaboutwhata“drumcircle”re-allyis.Partoftheproblemisthat

somanydifferenttypesofeventsarelabeledasdrumcircles—andsomeofthemhavelittletodowithdrummingormusic. “Somepeople’sgeneralcon-ceptofadrumcircleiswhattheyseeonthenews,”Hullsays.“Andwhatgetsonthenewsisstoriesaboutfree-form,anarchistdrumcirclescausingapoliceriot.Alotofpeopledon’tevenusetheterm‘drumcircle’anymorebecauseofthemisconceptionsofwhatadrumcircleis—abunchofhippiesandanarchistsinthepark,notfamilyfriendly,possiblywithdrugsbeingconsumed.Asaresult,manypeo-pleinourcommunityusetheterm‘facilitatedrhythm-basedevent’insteadof‘drumcircle.’ “Afacilitatedeventisnotthatmuchdifferentthanafree-formevent,”Hullexplains.“Youarestillplayingin-the-momentmusic;thefacilitatorisnottellingyouwhattoplay.It’snotabout‘We’regoingtodo“Kuku”fromWestAfrica,andherearethepartsyouaregoingtoplay.’It’saboutencouragingpeopletosharetheirrhythmicalspiritin

suchawaythattheycanfreelyex-ploreandexpressit,anddoimpro-visationinsuchawaythatiftheymakeamistake,it’sokay.Butitisfacilitatedbysomeonewhowantstokeepasafespaceforfree-formexpression,andatthesametimelistentothewholegroup’senergyandhelpitgettowhereitwantstogo.Thereisstilla‘hippythunderdrumming’aspect,exceptthatwebringthevolumedownsothereislisteninginvolved.It’sfreeforminthesensethatyoucanplaywhatyouwant,butinsteadofjustbang-ingonadrum,youalsolistentothepeoplearoundyou,andwhenyoumakespaceforotherpeople’screativity,youwillfindspaceforyourown.Sothedifferencebe-tweenafacilitatedrhythm-basedeventandananarchistdrumcircleissmall,buttheresultisbig.” Hullstressesthatagoodfacilitatorisnotrunningadrumcirclethewayaneducatorwouldconductapercussionclass.“Wecallit‘teachingwithoutteaching’,”Hullexplains.“It’saboutleadingabunchofindividualstogroupconsciousness:Wow,we’replayingtogether;it’snotme,it’sus;it’snot‘HowamIdoing?’but‘Howarewe doing?’Thenthefacilitatormovesthegroupbyusinginteractive,ex-perientialtraining. “Here’sanexampleofhowagoodfacilitatorincreasesaware-nessofthelowdrums,”Hullsays.“Let’ssayagrandmabringshergrandsontoafacilitatedcom-munitydrumcircle.Shedoesn’treallywanttobethere;it’sjustabunchofnoisetoher.Butshegetshandedadrumandstartsplaying,

RHYTHM! SCENE 7 APRIL 2014

andshehappenstobehittingalowdrumwithabeater.Atsomepointthefacilitatorstopseveryoneinthegroupexceptthelowdrums,andeveryoneisabletohearthelowdrumsonginsidethatcircle.Andgrandmafindsoutthatshe’spartofaninteractivedialogamongalltheotherlowdrummersinthecircle.Sheexperiencesthiswhileshe’splaying.Thefacilitatorcountstherestofthegroupbackin,andthemusicimprovesbecauseevery-onegottolistentothefoundation,andgrandmawillnevernothearthelow-drumsongagainduringthatprogram. “Youcantaketheexactsamescenario,butthistimehavegrandmaplayashaker.Everyoneismakingajoyfulnoisewhilethefacilitatorisscopingoutthelowdrums.Onceagainthefacilitatorstopseveryonebutthelowdrums.Grandmastopsshakinghershaker,andshehearsthislow-drumsong.Thefacilitatorcallsthegroupbackin,andsheplayshershakeragain,butnowsheishearingthelowdrums.Thisis‘teachingwithoutteaching’—creatinganexperientialmomentthatteachesthewholegroup.Thefacilitatordoesn’tsay,‘Herearethelowdrums,andyoushouldlistentothembecausetheyarethefoundationofthemusicwearegoingtomake.’Allthefacilita-torhastodoisshowcasethelowdrumsandleteveryonehavetheexperienceofdiscoveringthem. “That’sjustoneexperiencethateducatesthegroupaboutitself—aboutthemakeupofthegroup,thetimbresofthegroup,thepitchesofthegroup,thedrum

typesofthegroup.Whenthegroupmembersbecomeconsciousofalltheseaspects,itrelievesthefacilitatoroftheresponsibilityofholdingitalltogether.Becausethat’swhatpeopleinadrumcirclewanttodo:playwitheachotherandcreatesomethingmagic;somethingthat’sinthemoment;somethingthatneverstopsevolv-ing.Soby‘teachingwithoutteach-ing,’youmovethegroupfrombeingabunchofindividualstoanexciting,dynamic,interactive,or-chestrational,musicaldrumcircle.Agroupconsciousnessiscreatedthroughthemagicofthemusic. “Themostimportantpieceisthatthefacilitatorsaren’tstand-inginthemiddleofthecirclethewholetime,”Hullemphasizes.“Theycomeinwhenthegroupneedsthemandleavewhenthegroupdoesn’t.Theydowhattheyneedtodotoadjustthegroup’smusic,andthentheygetoutoftheway,becausethemainobjectiveofthesepeoplecomingtogetheristosharerhythmicalspirit,notbetoldwhattodo.” ThisyearatPASICinIndia-napolis(Nov.19–22),Arthurwillbepresentingaclinicondrumcirclegames.Percussionists,musicedu-cators,andanyoneseekingtouserhythm-basedactivitiestoengagepeopleintheartofmusicmakingusingpercussioninstrumentswillhaveanopportunitytolearninter-activerhythmgamesandactivitiesapplicabletoawiderangeofpopu-lations. Inaddition,onSundayafterPASIC(Nov.23),Arthurwillconductadrumcirclefacilitationworkshop

inwhichhewilltakeparticipantsthroughsevenbasicprotocolsthatwillempowerthemtoguideagroupofpeopleinadrumcircleevent.TheworkshopwillincludemanyoftheexercisesusedinAr-thur’sVillageMusicCircledrumcirclefacilitatorstrainingprograms. “Drummingisgettinghardtomiss,”Arthursays.“IfyouGoogle‘facilitateddrumcircle,’you’rego-ingtogetplasteredwithallkindsofvariationsofwhatthatisandwhatitcanbeandwhatsomepeoplethinkitshouldn’tbe.It’sawonderfuldebatethat’spartoftheevolutionoftheprofessionalfacilitatorcommunity,wherewearetryingtomake,withthehelpofPAS,facilitatedrhythm-basedeventsaprofession,notjustafree-for-all.It’snolongeraphenomenaorafad.Thisisaninternationalculturalrevolution.It’snotgoingtostopbecausethepowerofrhythmandmusicmakinginagroupcansatisfytheneedsofalmostanyper-sonorgroupontheplanet.It’satoolforunity,buildingcommunity,andformakingtheworldabetterplaceonebeatatatime.”

MORE INFO:ArthurHull’swebsite:www.drum-

circle.comArthurHulldrumcirclevideos:

http://www.coolmojito.com/2628138

InformationaboutPASIC2014:www.pas.org

InformationabouttheDrumCircleFacilitationWorkshop:http://www.pas.org/PASIC/drumcir-clewkshop.aspxRS

APRIL 2014 8 RHYTHM! SCENE

HOW LOUD IS THAT?BY JOHN R. BECK

Aspercussionists,weknowtherearesomepeoplewho

believethatourinstrumentsarealwaysloud,butarewereallyconsciousofvolumelevelsinourmanymusicalenvironments?TworecentissuesofPercussive Notes havecontainedarticleswithinfor-mationthatdocumentedsoundexposureforpercussionistsusingdecibel(dB)levelsandgraphs(Vol.51,No.4,July2013,pp36–39;Vol.51,No.2,March2013,pp42–45).Thisscientificdataisessentialinevaluatingwhenitisadvisabletousehearingprotection;howev-er,itcanbedifficultformusicianstoaccuratelyrelatedBnumberstothevolumelevelsfoundintheireverydaymusicalenvironments. Asafollow-uptothesear-ticles,decibelmeterswerevideo-recordedduringtypicalrehearsalsituationsforpercussionists.Theaudio/videoevidenceoffersabetterframeofreferenceformu-sicianstounderstandtheinforma-tionbasedontheirexperiences. Theaccompanyingvideodemonstrationsincludesimultane-ousreadingsfrombothasmartphone(iPhone)decibelmeterapplicationandasingle-purposemeter.Thefreephoneappsusedintheseexamplesdonotmeasureabove100dB,theirsamplingrateisslowerthanthe(blue)meter,

Wagner1:Filmedfromthecymbalandtrianglestandinanorchestralpercussionsectionplacedbehindthe2ndviolinsandinfrontofthehorns.

Wagner2:Filmedfromthetimpanistandinanorchestra,placedinfrontofthetrumpetsandtrombones(onrisers)andnexttothebassoons.

andthemicrophoneisonthebottomofthephone,resultinginless-accuratereadings.(Tomostaccuratelytestsoundwithasmart

phoneapplicationitshouldbeheldintheair.)Ineachmusicalsettingthedecibelmeterplace-mentwasapproximatelythree

Taptoplayvideo

Taptoplayvideo

RHYTHM! SCENE 9 APRIL 2014

Brahms:Filmedfromthetimpanistandinfrontoftrumpetsonly(onrisers,10feettotherightsideofthetimpanist).

Marimbapracticesession:“SeYaThursday”

feetfromtheearoftheperformer.Nosignificantchangeinmeasure-mentwasobservedwiththeme-terplaceddirectlyattheearoftheperformerduringtesting. Thedecibellevelsmeasuredinalloftheseperformancesitu-ationsindicatethatrepeatedex-posurethroughoutthedayaddssignificantlytothetotalrecom-mendedlevelsofsafe,continuoussoundexposureforunprotectedears(seeNIOSHchartfrom2002)—forexample,2hoursofpractice,2.5hoursofrehearsal,wearingearbuds,attendingasportingevent,attendingamovieinatheater,automobiletravel,5hoursofteaching,etc. Inadditiontothedecibel-levelvideos,severalstylesofmu-sician’searplugsweretestedbyanaudiologistusingaRealEar(Me-dRxREMSpeech+BinauralLiveSpeechMapping,RealEarMea-surementSystem)testingunittomeasuretheeffectivenessofeachinreducingsound.Asmallprobemicrophonewasplacedintheearcanaltomeasurethesoundreduc-tionofeachearplugwhilelisten-ingtothefrequencyspectrumofthehumanvoicebroadcastthroughaspeakerapproximatelytwofeetfromthemusician.Thesoundlevelsinsidetheear(attheeardrum)werecomparedtothesoundsourcelevelsoutsidetheear. Alltheearplugstestedprovid-edsimilarpatternsofprotectionandweresuccessfulinreducingthesoundreachingtheearcanal.Inthistestitwasinterestingtonotethatthecustomfittedear-

RockRehearsal1:Commercialmusicpractice-roomjamsessionwithelectricpiano,bass,trombone,anddrums.

Taptoplayvideo

Taptoplayvideo

Taptoplayvideo

APRIL 2014 10 RHYTHM! SCENE

plugprovidedsignificantlymoreprotectionatlowerfrequencies(lowerpitch).Consideringthatpercussionistsareofteninsoundenvironmentsfilledwithlowpitches,onecouldinitiallycon-cludethatthecustomfittedplugseemstobethemosteffectiveatprovidingmaximumprotection. However,thereismoretoconsider. Whendiscussingmusician’searplugs,onethingiscertain:Placingafilterbetweentheear-drumandthesoundsourceisfarbetterthanleavingtheearunprotected.Thetotalexposureovertime(throughouttheentireday)iswhatconcernsmusicians.Althoughsuddenspikesofloudsoundcancausedamage,acousticmusicianstypicallydon’tencoun-terperformancesituationswithunexpectedvolumechanges,ascanhappenwiththosewhoplaywithamplification(e.g.,feedback,someoneelsecontrollingthemix-ingboard,etc.). Thereisdiscussioninthehearingprotectioncommunityregardingoverallsoundexposurecomparedtoreducingexposureforspecificfrequencies.Theper-ceptionofthesoundqualityforamusicianwhoiswearingearplugsthatreducemostlyhighfrequen-ciesisoftendifferentthanthatofanindividualwearingearplugsthatevenlyreducesoundlevelsacrosstheentirepitchrange.Somepeopledislikeearplugsthatreducelowfrequenciesandfeelthatamorenaturalsoundisex-periencedwithmorelows“inthemix.”

LeftEarcloseup:(Noticethedifferencesinreadingsbetweenears,likelyduetoanatomicaldifferencesintheearcanal)Topline–soundsourceBottomline–soundreductionwith9dBfiltercustomfitearplugs.Middlelines–EtymoticETY(cone-shapedplugwithstem)andEARaser(thimble-shapedplug)

NIOSH (National Institute for Occupational Safety and Health) 2002

Recommendedlevelsofsafecontinuoussoundexposureforunprotectedears.

85decibels(dB)–8hours 103dB–8minutes

88dB–4hours 106dB–lessthan4minutes

91dB–2hours 109dB–lessthan2minutes

94dB–1hour 112dB–about1minute

97dB–30minutes 115dB–about30seconds

Inotherwords,reducingcer-tainfrequencies(pitches)morethanotherswillchangetheexpe-rienceforthemusicianandwillreducesoundexposure,butnotprotectequallyatallfrequencies.

Mostmusicianswantthesoundqualitytobeassimilaraspossiblewhencomparingprotectedvs.un-protectedconditions.The unpro-tected ear is the most vulnerable to noise-induced hearing loss, and

RHYTHM! SCENE 11 APRIL 2014

APRIL 2014 12 RHYTHM! SCENE

any protection in loud environ-ments is better than none at all. Themostinformativetestofthiskind(illustratingforpercus-sionistsspecificinstrumentsandtheirfrequencymeasurementnumbers)wouldlikelyinvolvetest-ingearplugswhilemultiplewear-erswereexposedtopercussioninstrumentrecordingsthroughouttheentirepitchrange(frombassdrumandtimpanitotriangleandcrotales),allatthesamevolumelevel,conductedinasoundcham-berwithaveryfineclinicalaudi-ometer,andwouldinclude“beforeandafter”thresholdtestsofthesubjects’hearing. RealEarAttenuationatThreshold(REAT)studiesthatmeasureattenuation(soundre-duction)ofearplugsarepublishedandavailable. Thisbriefstudyindicatesthatpercussionistsneedtobeproac-tiveabouttheirhearinghealth.Weshouldnotbefooledintothinkingthatmarimbapracticeissomehowsaferthandrumming,orbelievethataslongasonedoesn’tplayinlargeensemblesthereisnoconcernaboutnoise-inducedhearingloss.Oncedamageoccurs,thehearinglossispermanent.Per-cussionistsinterestedinprolong-ingtheircareersareencouragedtotakeadvantageoftheinformationandproductsavailablethatpro-videhearingprotectionspecificallydesignedformusicians.BoththeEtymoticResearchandEARasercompanieshaveexhibitedregular-lyatPASIC.Linkstotheirwebsitesandadditionalinformationarelistedbelow.

The author would like to thank Don E. K. Campbell, President, EARasers; Carolynn Travis, Global Brand Advocate; Gail Gudmund-sen, Au.D.; Patricia A. Niquette, Au.D.; and Dr. Mead Killion, Presi-dent, Etymotic Research, for their assistance in reviewing informa-tion for this article.

Jason BittnerPASIC 2013 Artist

FREE:• PASIC 2014 registration

• PASIC 2014 Logistics t-shirt

ENTERED TO WIN:• $1,000 in scholarship money from the Percussive Arts Society (full time students only, must be applied to tuition)

• Percussion gear from participating manufacturers

Apply Online!www.pas.org/PASIC/LogisticsTeam.aspx

PASIC LOGISTICS TEAM members work directly with some of the best drummers and percussionists in the world by helping to move gear andsetup stages. Team members are eligible to win prizes from PASIC exhibitors and receive many complimentary rewards from the Percussive Arts Society.

PASIC 14Percussive Arts Society International Convention

November 19–22 • Indianapolis, Indiana

PASIC LOGISTICS TEAM

LINKSEtymoticvideo:http://www.ety-motic.com/hearforalifetime EARasers:http://www.earasers.netEtymoticResearch:http://www.etymotic.comCarolinaHearingDoctors:http://carolinahearingdoctors.comAdditionalresearch:http://www.hearingreview.comRS

RHYTHM! SCENE 13 APRIL 2014

APRIL 2014 14 RHYTHM! SCENE

PEOPLE AND PLACESAUSTRIA

Dr. Brad Meyer(DirectorofPercussionStudiesatStephen

F.AustinStateUniversity)wasinvitedtoGraztoperformattheannual“NightofPercussion,”di-rectedbyGünter MeinhartonJan.24.WhileinGraz,Meyerpresent-edthreedaysofmasterclassesandclinicsattheMusikschule-Leibnitz,hostedbyBerny Richter,andattheUniversitätfürMusikunddarstellendeKunstGraz—kurzKunstuniversität,hostedbyMein-hartandUlrike Stadler.Clinicsandmasterclassesthroughoutthethreedayscoverednumeroustop-ics,includingconcertsnaredrum,timpani,electroacousticmusic,Joropomaracas,marimba,andchamber-musicperformance.

GünterMeinhart(farleft),BernyRicther(secondtoleft)andDr.BradMeyer(farright)withstudentsoftheMusikschule-LeibnitzgivingtheStephenF.AustinStateUniversity“Axe.”

DameEvelynGlennie

DENMARK

DanishcomposerAnders Kop-pel’snew“ConcertoforAlu-

phone,marimbaandOrchestra”waspremieredbyDameEvelynGlennieonJan.16and17with

theOdenseSymphonyOrchestraconductedbyMarcSoustrout.Theconcertohasfivemovementsandtheperformerplaysthealuphoneandmarimba.TheconcertowascommissionedbytheOdense

RHYTHM! SCENE 15 APRIL 2014

SymphonyOrchestraandisnowpublishedbyEditionWilhelmHan-senandbySchirmer.Theconcertsweresoldoutandahugesuccess.TheDanishNationalRadiobroad-castthepremiere.

POLAND

InDecember,thefinalsofthePolishnationwideauditiontook

placeinWarsaw.Studentsfromfirstandsecondlevelpercussionclassestookpart.Duringthecon-test,eachofthestudentshadtoperformanadditionalpieceintarabaning-marshalstyle,whichisderivedfromthemilitarytradition.Theconceptwasco-organizedbythePolishPASChapter.Manyout-standingpercussioniststookpart,aswellasProfessorMartinOprsalfromtheCzechRepublic.

SPAIN

FromNov.15–17,Spanishper-cussionquartetEsclatspre-

sentedseveralconcertsinGermanyperformingtheirmulti-mediawork“VoicesofDestiny.”Thisproject,withmusicbyAgus-tinCharles(Spain)andRolandSchmidt(Germany),combinesthepaceandthedramaticqualityofpercussioninstrumentswiththesensitivityandfragilityofthevoiceofsopranoJuliaFarrés-Llongueras,anditimmersesthelistenerinFedericoGarcíaLorca’suniverse. ThetourstartedinNurnberg,continuedinWeißenburgandfin-ishedinNeumarkt.Thelastcon-certwasrecordedbyBayerisherradiostation. TheconcertswerehostedbyRoland Schmidt(solotimpanist Nov.24,2013performanceatTeatroCalderónofAlcoy

atNurembergSymphonyOrches-tra).TheeventsweresponsoredbyBerg’smunicipality,UnionAlcoyanaSeguros(Spain)andBRKlassic.

AnewprojectfortwopianosandpercussionquartetwaspresentedonNov.24,2013,atTeatroCalderónofAlcoy,withguestartistsGabriele Baldocci (Italy)andDaniel Rivera(Argen-tina).TheconcertincludedAndresValero’s“¡RRRR!”BelaBartok’s“Sonatafortwopianosandper-cussion,”GeorgeGershwin’s“AnAmericaninParis”andLeonardBernstein’s“SymphonicDancesfromWestsideStory.”Thiscon-certwashostedbyAsociaciónAmigosdelaMúsicadeAlcoy.

USAAlabama

MarimbistandcomposerGor-don Stoutwastheguest

artistatTroyUniversityinTroyonFeb.24,hostedbyDr. T. Adam Blackstock,ProfessorofPercus-

sionatTroy.Stouttaughtamasterclassandalsopresentedasolomarimbarecital.

Alaska

TheAlaskaPASChapterhostedadrumsetcliniconMarch1at

theUniversityofAlaska,Anchor-agecampus.CliniciansincludedAnchorage-baseddrumsetartistsandeducatorsCameron Cartland,Eric Kross,andLee Thompson.Thethreeclinicianssharedtheirbackgroundsintheirrespectivegenresofjazz,rock,andreggae,discussingeverythingfrompropertechniquetopracticingwithametronomeandperformanceanx-iety.Duringthesecondhalfoftheclinic,participantswereinvitedtoplayforthecliniciansandreceivecomments.Theeventwaswellat-tendedbyavarietyofagegroupsandabilitylevels.

Illinois

TheElkGroveHighSchoolMusicDepartmenthostedits

8thannualPercussionFestivalon

APRIL 2014 16 RHYTHM! SCENE

March8.Theeventfeatured20oftheChicagoarea’sfinesthighschoolpercussionensemblesaswellasaclinic/performancebyDoug Perkins.OthercliniciansincludedTom Leddy(festivalorga-nizer),Doug Bratt,andBen Wah-lund.Theeventdrew250peopleandwasahugesuccess.Formoreinformation,visitwww.tomled-dydrums.com.SponsorsincludedZildjian,Remo,Pearl/Adams,VicFirthCo.,ILPAS,InnovativePercus-sion,TapSpace,BlackSwamp,andTheDrumPad.

FromleftRonFiorito,DougPerkinsandTomLeddyattheElkGroveHighSchoolPercussionFestival

Kentucky

Dr. Jason Koontz,DirectorofPercussionStudiesatEastern

KentuckyUniversity,presentedacliniconBrazilianpercussiontothemembersoftheCampbellsvilleUniversitypercussionstudio(Dr. Chad Floyd,director)inJanuary.TheCU Steel BandperformedattheKentuckyMusicEducatorsAs-sociationinLouisvilleonFeb.7.

Brad DutzandChris Wabich wereinLouisvilleonFeb.25,

wheretheyfirstworkedwithper-cussionstudentsofRick Mattingly atSt.Xavierhighschool,andthenworkedwiththeLouisville Leop-ard Percussionists,directedbyDiane Downs.

Maryland

Dr. N. Scott Robinsonper-formedondrumsetwiththe

BroadwayTenorsfeaturingvocal-istsKyleDeanMassey,BrentBar-rett,andLewisClealewithMusicalDirectorandpianistPhilRenoatCarrollCountyCommunityCollegeinWestminsteronDec.6,2013.

Minnesota

John Wooton wasoneoftheguestartistsatthe2014Min-

nesotaPercussionAssociation’s(MPA)DayofPercussion,heldJan.11atRosemountHighSchool(Bojan Hoover,host).Dr.WootonpresentedacliniconrudimentalsnaredrumandanotheronsteelpanandalsoperformedwiththeRHS Percussion Ensemble.Hisappearancewasco-sponsoredbyPearl/Adams,Sabian,VicFirthCo.,Remo,andRow-Loff.

New York

TheNazareth College Percus-sion Departmenthostedguest

clinicianMichael BurrittforamasterclassonJan.31.Michaelperformedseveralmarimbaandsnaredrumcompositionsandcri-tiquedstudentperformancesbyTorrey Cobb,Matt Bevan-Perkins,andJamison Brooks.ThesessionwashostedbyAssistantProfessor

inProfessionalPracticeKristen Shiner McGuire,whohasbeentheCoordinatorofPercussionStudiesatNazarethsince1984.ManythankstoD’AddarioandNazarethCollegeforsupportingthisfabulousandinspiringevent!

OnJan.8,Larry Spivackcel-ebratedhis60thbirthdayby

presenting“SpecificallySpivack,”afreeconcertofhiscompositions.

BachovichMusicPublicationsheldaninternationalcom-

petitionforsolovibraphonistscurrentlyattendingcollege.Par-ticipantsuploadedperformancesof“Soliloquy”and“Waltz”and“Ragtime”(from“FourPieces”)ontoYouTube.Threewinnerstrav-eledtoNewYorkCitytoperformattheconcertandeachreceiveda$1,000prize.ThewinnerswereLuis Fernando Cuevas Hernandez (NationalUniversitySchoolofMu-sicinMexico),Samuel Chan(NewEnglandConservatory)andSteven Davidson(UniversityofSouthAla-bama).Alsoperformingwereper-cussionistsMorris “Arnie” Lang,Andrew BeallandRay Marchica.

DrumsetartistDanny Gottlieb wasoneofthecliniciansatthe

SuffolkCountyMusicEducatorsAssociation(SCMEA)DayofPer-cussiononFeb.1.HostedbyPete DeSalvoandAnthony Romeo,thedaywasheldatSayvilleHighSchoolinWestSayville(LongIs-land).Gottlieb’sdrumsetclinicwasco-sponsoredbyZildjian,Remo,andDrumWorkshop.

RHYTHM! SCENE 17 APRIL 2014

Brazilianpercussionistandcom-poserNey Rosauroperformed

withtheSUNY-Fredonia Percus-sion Ensemble,underthedirec-tionofDr. Kay Stonefelt,onFeb.10.Whileoncampus,healsogaveaclinic,whichwasco-sponsoredbyYamaha,Sabian,andVicFirthCo.

Tennessee

Jerry TachoirwasfeaturedinaclinicattheW.O.SmithMusic

SchoolinNashvilleonFeb.22.ThiseventwassponsoredbyLudwig/MusserandInnovativePercussion.

Dr. Andy HarnsbergerwasontheUTMartinCampusFeb.

11–12.HeperformedarecitalintheBlankenshipRecitalHallandthengavemultiplemasterclassesthefollowingdaywithhands-onteachingintheUTMPercussionStudio(Dr. Julie Hill,Director).Eachstudentplayedexcerptsonavarietyofpercussioninstruments/genresforHarnsbergerandre-ceivedinstantprofessionalfeed-back.TheeventwassponsoredbytheUTMPercussionSociety,Pearl/Adams,InnovativePercussion,Sa-bian,andEvans.

Texas

Daniel Adamsistheauthorofanarticletitled“Indetermi-

natePassagesasTemporalandSpatialComponentsofThreeSelectedCompositionsforSnareDrumEnsemble”publishedintheFall2013issueoftheJournal of the National Association of College Wind and Percussion Instructors (Volume62,Number1).

Braziliancomposerandpercus-sionistNey Rosaurovisited

threeschoolsinTexasduringJanu-ary.OnJan.23heperformedwiththeTexas Christian University Per-cussion EnsembleinFortWorth,underthedirectionofAndrew EldridgeandRichard Gipson.

Dr.AndyHarnsbergerperforming“PalmettoMoon”

NeyRosauro(center)playingthesecondmovementofhis“ConcertoforMarimbaNo.2”withtheTCUPercussionOrchestraduringtheLatinAmericanMusicFestival

TCUwashostingaLatinAmericanMusicFestivalheldinconjunctionwiththeNationalConferenceoftheCollegeOrchestraDirectorsAssociation(CODA),hostedbyGermánGutierrez,DirectorofOr-chestraStudiesatTCU.Dr.Rosau-roperformedonemovementfrom

Taptoplayvideo

APRIL 2014 18 RHYTHM! SCENE

eachoffourofhisconcertos(forvibraphone,marimbaNo.1andmarimbaNo.2).Mike OlsenwasthesoloistinthethirdmovementofRosauro’s“ConcertoforTim-pani.”TheconcertconcludedwithRosauroplayingsolovibraphoneinhis“VariationsontheNewWorld,”followedbytheentireen-sembleperforminghis“Valencia.” Thefollowingday,Dr.RosaurotaughtaclinicatSouthernMeth-odistUniversityinDallas.Doug Howardhostedtheevent,whichwasattendedbypercussionandcompositionstudents. OnJan.25,RosaurotaughtamasterclassatTarrantCountyCollegeinHurst(Warren Dewey,host).Fourstudentsperformedforthecomposer:Ethan Kough (CarrollMiddleSchool)playedMitchellPeters’“YellowAftertheRain,”Bryan Adams(EulessTrinityHS)andTim Gargiulo(ArlingtonMartinHS)eachplayedRosauro’sfirstmarimba“Prelude,”andJor-dan Newman(ColleyvilleHeritageHS)playedhis“MarimbaConcertoSuite.”Rosauro’sclinicswereco-sponsoredbyYamaha,Sabian,andVicFirthCo.

Wisconsin

Geary LarrickperformedaBlackHistoryMonthprogram

inStevensPointonFeb.12,2014,onsolomarimba,doingmusiccomposedbyAfricanAmericanmusicians.

Steve Fidyk,drummerwiththeU.S.ArmyBluesBand,wasthe

featuredguestartist-clinicianatthe2014WLCJazzFestival,Jan.

17–19,whichpaidacentennialtributetolegendarybig-bandleaderWoodyHerman.TerryTreuden,DirectorofInstrumen-talMusicatWisconsinLutheranCollege,washostforthefestival,whichincludedclinics/workshopsforschooljazzensembles,an“honors”jazzensemble,andaSaturdayeveningconcertfeatur-ingmusicalselectionsmadefa-mousbyHerman’s“ThunderingHerd”bands.ASundayafternoonconcert,titled“WoodyHermanRemembered”featuredFidykwiththeWLCJazzBandunderthedirectionofTreudenandtheWaukeshaJazzExpressunderthedirectionofMarkHelgert.

ON THE ROAD

Andy HarnsbergertraveledtotheUniversityofKentucky

(JamesCampbell,host)onOct.12,MiddleTennesseeStateUniversity(LaloDavila,host)Oct.16–17,JacksonvilleStateUniversity(TonyMcCutchen,host)Nov.1,andCovenantCollege(StephenHumphries,host)Nov.8.Ateachlocation,Harnsbergergaveaclinictitled“TheTruthAboutPractice”andpresentedsolorecitalsfea-turing“NightRhapsody”byJohnSerryandhisworks“WordsUn-spoken,”“AprilSun,”“Phoenix,”“ShineOn,CircularQuay,”and“PalmettoMoon”with,respective-ly,theUKPercussionEnsemble,theMTSUPercussionEnsemble,theJSUPercussionEnsemble,andtheLeeUniversityPercussionEn-semble. HarnsbergerwasArtistin

ResidenceatTroyUniversityinAlabamaOct.20–22.HewasguestartistontheTroyUniversityPer-cussionEnsembleconcertandperformedhisworks“Phoenix”and“PalmettoMoon”withtheensemble.AlsoontheprogramwasHarnsberger’swork“Din”forpercussionensemble.HewasArtistinResidenceatTexasTechUniversityNov.3–5.HewasguestartistontheTTUPercussionEn-sembleconcertandperformedhisworks“WordsUnspoken,”“Phoe-nix,”and“PalmettoMoon”withtheTroyPercussionEnsemble.AlsoontheprogramwereHarns-berger’sworks“Din,”“Revolver,”and“FindingHope”forpercussionensemble.Alleventswereco-sponsoredbyPearl/Adams,Inno-vativePercussion,Sabian,Evans,andGroverProPercussion.RS

News items for “People and Places” must be received

within three months of the date of the event.

PleasesendmaterialstoPAS:110W.WashingtonStreet,

SuiteA,Indianapolis,IN46204

Email:publications@pas.org

RHYTHM! SCENE 19 APRIL 2014

APRIL 2014 20 RHYTHM! SCENE

PAS EDUCATION COMMITTEE BY PETER P. DESALVO, EDUCATION COMMITTEE CHAIRWITH PAUL BUYER, FORMER EDUCATION COMMITTEE CHAIR

COMMITTEE SPOTLIGHT

ThePASEducationCommitteeisacollectionofmusiceducators

fromvariousaspectsoftheeduca-tionspectrum,rangingfrompublicschoolbanddirectors,topercus-sionspecialistsinpublicandprivateschools,toprofessorsheadingcol-legeanduniversitypercussionde-partments.Theseeducatorssharenotonlyacommonpassionforper-cussionbutalsothedesiretofur-therimprovethequalityofpercus-sionteaching,addressproblemsinpercussioneducation,andconnectbetterwithyoungpercussionists. Someofthewaysthecommit-teeservesthePAScommunityisbyexploringpracticalandphilosophi-calissuesinpercussioneducationandpresentingthembyprovidingresources,articles,networking,stimulatingdiscussions,andhands-onsessions.Hereisabriefdescrip-tionofthemanyprojectsandinitia-tivesoftheEducationCommittee.

LIFELONG LEARNING TheLifelongLearningsubcom-mitteeisresponsibleforpromotingtheactivityofpercussionperfor-manceandeducationasalifelongendeavor.AsHenryFordsaid,“Anyonewhostopslearningisold,whethertwentyoreighty.Anyonewhokeepslearningstaysyoung.”Educationandperformance,ingen-

eral,shouldnotbeboundbyage,major(focusinschool),training,gender,orsocioeconomicstatus.Thissubcommittee,chairedbyDanSmithiger,iscurrentlydevelop-ingasurveyregardingpercussioncareers,withagoaltoprovidePASwithinformationregardingpercus-sion-educationcareertracks.Thissurveywillbeadministeredtoavastnumberofpercussionspecial-istsfromalloverthecountry,andpossiblybeyond. Alreadyintheworksisthecompilationofanextensivenation-widelistofpercussionspecialistswhoteachpercussioninschoolsandcolleges,bothpublicandpri-vate,orinstructdrum/percussionsectionsandensembleswithinlargermusicalgroupsorprograms.Itishopedthatthissurveyofper-cussionspecialistswillbringtolightthedirectionofpercussioneducationanditseffectonlifelonginvolvementinpercussion. I AM PAS AnotherEducationCommit-teefocusistomakePASavaluableresourcetostudentsandteachersalike.The“IamPAS”subcom-mittee,chairedbyJohnHainandinspiredbyJohnParks’I Am PAS video,isresponsiblefordoingre-searchonhowtoincreasehigh

schoolstudentPASmemberships,aswellasstudentattendanceatPA-SICandstateDaysofPercussion. ED TUBE AwebeducationprojectofthePASEdTubesubcommittee,headedbyBobBrudvig,isactivelyengagedincreatingvideosonthePASweb-sitethatwillfeaturesomeofPAS’smostrespectedperformersandcomposersplayingexcerptsofsolopercussionliteratureforsecondarystudents.Byprovidingtheseinspir-ingexamples,studentswillhaveavisualandauralreferencetoim-provetheirownperformanceskills. PASIC Inadditiontotheaboveproj-ectsthatareongoinganddevelop-ing,themembersoftheEducationCommitteearealsoinvolvedinartistselectionforclinicsandses-sionspresentedatPASIC,aswellassponsoringandpresentingayearlypaneldiscussionatPASIC.Thepaneldiscussionsfocusonandex-poseimportanttopicsandissuesinpercussioneducationtoday.ThesepaneldiscussionsarealwayswellattendedandcontinuetobeahugesuccessatPASIC. FUNDAMENTALS Whatbetterwaytoinvolve

RHYTHM! SCENE 21 APRIL 2014

youngstudentsandteachersthantoengagetheminsessionsthatarebasicandFUN!EachyearatPASIC,theEducationCommitteepres-entsseveralFUNdamentalsclinicsthatgivestudentsandteachersa“handson”experience,learningthebasicskillsofsnaredrum,tim-pani,malletkeyboard,accessorypercussion,drumset,handdrum-ming,andtechnology.Theseses-sionsaregivenbytoppercussionperformersandeducatorsinourfield.TheFUNdamentalssubcom-mitteeischairedbyRalphHicks. ARTICLES BecausetheEducationCom-mitteemembershipincludesmanycomposersandauthors,weareactivelyengagedinwritingarticlesforPercussive Notesandothereducationalpublications.Manyoftheseare“howtoteach”articles—invaluableforallmusiceducators.AnarticleintheJanuary2014issueofPercussive NotesbyEducationCommitteememberJonathanLattafocusedonteachingaccessoryper-cussioninstruments,andanarticlebycommitteememberMarshallMaleyintheMarchissuedealtwithteachingflams.LookformoreofthesearticlesbyothercommitteemembersinfuturePercussive Notes andonthePASwebsite. CONCLUSION Inclosing,theEducationCom-mitteeisactivelyinvolvedthrough-outtheyearwithmanyfacetsofpercussioneducationwithinthePercussiveArtsSociety.Wewel-comealleducatorstobeourguestatourFUNdamentalsandpaneldis-

cussionsessionsatPASIC.Ween-courageyoutobringyourstudentsandtobecomeinvolvedinPAS.The

futureofourart,ourcraft,andoursocietyrestsintheyouththatweeducateandmentor.RS

PAS NOMINATION AND ELECTION TIMELINESAUGUST 1Lifetime Achievement in Education Award ThePercussiveArtsSocietyLifetimeAchievementAwardinEdu-cationwasestablishedin2002andrecognizesthecontributionsofthemosthighlyregardedleadersinpercussioneducation.Nomina-tionswillbeacceptedfromanyPASmember,butnomineesneednotbePASmembers.Namesofthosenominatedwillbegivencon-siderationforthreeyearsfromthetimeoftheirlastletterofnomi-nation.Details:www.pas.org/experience/awards.aspx

SEPTEMBER 1PAS Hall of Fame NominationswillbeacceptedfromanyPASmember,whilenomineesneednotbePASmembers.Namesofthosenominatedwillbegivenconsiderationforthreeyearsfromthetimeoftheirlastletterofnomination.September1,2014isthedeadlinefornomina-tions.PASIC2014:CouncilofPastPresidentsreviewsapplicationsandse-lectsaslateofcandidates.April2015:BoardofAdvisorsvotesonHallofFamecandidates.June2015:HallofFameinducteesareannounced.PASIC2015:NewHallofFamemembersarepresentedawardsdur-ingtheconvention.Details:http://www.pas.org/experience/halloffame.aspx

Board of Advisors AllPASmembersareeligiblefornomination.Self-nominationsareacceptable.Nominationsmustbemadeinwritingandshouldin-cludenominee’sname,address,telephonenumber,faxnumber(ifavailable)andemailaddress(ifavailable).BoardofAdvisorselec-tionsareheldannually. SendlettersofnominationtoPAS,BoardofAdvisorsNomina-tions,110W.WashingtonStreet,SuiteA,Indianapolis,IN46204. Email:percarts@pas.org

APRIL 2014 22 RHYTHM! SCENE

HOT LICKSPARADIDDLE GROOVESBY RICK MATTINGLY

Manydrummerspracticeparadiddlesforhanddevelopment,andparadiddlesareobviously

importantinrudimental-styledrumming.Butpara-diddlesalsohavemanydrumsetapplications.Wewillstartwithaparadiddlegrovethatcanbeusedforfunk. First,makesureyouarecomfortablewiththeparadiddlestickingpattern.Fornow,playitwithoutanyaccents.

Next,putabassdrumpulseunderneath.

Keepthelefthandonthesnaredrum,butplaytheright-handonaclosedhi-hat.

Accentthe2and4onthesnaredrum.

Makeabiggerdifferencebetweentheleft-handnotesbyplayingtheunaccentednotesasghostnotes.

Thatcanworkasafunkgroove.Ofcourse,de-pendingonthetune,youcanchangethebassdrumpattern. Nowwe’regoingto“re-orchestrate”thatsamegroovetomakeitsound“Latin-ish.”First,movetherighthandtotheride-cymbalbell.

Taptoplayaudio

Playthebassdrumon1and3andusethehi-hatpedalfor2and4.

Now,playtheleft-handdoublestrokesonatom-tom.(Don’tghostthem.)

PASIC 2013 Drumline Battle finalists: University of North Alabama and Ben Davis High School

WE WANT You!

DrumLine Battle . PASIC Scholarships . Marching Percussion Festival . Solo & Ensemble Competitions

International Drum & Percussion Expo

register now to attend pasic 2014 in indianapolis, indiana

pasic.orgPASIC 14Percussive Arts Society International Convention

November 19–22 • Indianapolis, Indiana

sessions Artists from all styles and genres plus over 120 concerts, clinics, master classes, labs, workshops, panels and presentations.

EXPO Test and purchase the latest gear at the International Drum and Percussion Expo with more than 120 exhibitors.

Finally,playthesingleleft-handnotesascross-sticknotesonthesnaredrum.(Youcanplaythedoublenotesonthetomwiththebuttendofthestick.)

Again,youcanchangethebassdrumparttoaccom-modatedifferenttunes.Thisiscertainlynotan“au-thentic”Latinbeat,butitcanworkforLatin-rockorLatin-jazztunesthatjustneedaLatinflavor.RS

Taptoplayaudio

APRIL 2014 24 RHYTHM! SCENE

SCHOLARLY RESEARCH COMMITTEE BY KEVIN LEWIS COMMITTEE

SPOTLIGHT

ItisthemissionofthePASSchol-arlyResearchCommitteeto

broadlycontributetoandfurtherthedevelopmentofallareasofpercussionbythepromotionanddisseminationofadvancedresearch.Throughthediscriminat-ingselectionofresearchpresen-tationsatPASICandtherecentcreationofonlineresourcesatthePASwebsite,thecommitteeservestoprovidefortheaca-demicneedsofthepercussioncommunity. ResearchissharedatPASICthroughtwomeans:posterandpaperpresentations.Posterpre-sentationsarelocatedinaboothattheExhibitHallandprovideanabstractofmorethoroughresearchwithconcisevisualdis-plays,whichhighlightthemostsalientfindingsofthepresenter’sstudy.Theyprovideagreatin-troductionandexperienceforscholarswhoarenewtopresent-ingresearchorforthosewhoseworkisbestelucidatedbyvisualmeans.Paperpresentationsare50-minutelecturesandallowforadetaileddescriptionofone’sscholarship.Papersareconcludedwithabriefquestion-and-answersessionduringwhichaudiencemembersmaymakeinquiriesre-gardingthetopicpresented.

TheScholarlyResearchCom-mitteeisexcitedtohaverecentlylaunchedtwonewendeavorsthatpurposetobroadentheavail-abilityofacademicresourcesonpercussion.Theopen-submissionOnlineThesis/DissertationReposi-torycontainsdocumentswrittenforthecompletionofgraduatedegrees.Thoughthesesanddis-sertationsmaybefoundthroughsearchingotheronlinereposi-tories,thePASdatabaseisorga-nizedandandcanbebrowsedbysubjectmatter,offeringawealthofknowledgeinacentralizedlocationandprovidingaconve-nientsourceforanyonewritingresearchpapers,programnotes,orsimplyforthosewhoarecuri-oustoexpandtheirknowledgeofacertaintopic.Therepositoryalreadyhousesmorethan60documents,anditwillsurelycon-tinuetogrowasmorepercussion-istscompleteadvanceddegrees.Forthosewhohavecompletedacademicdocumentsandwouldliketocontributetothereposi-tory,submissionguidelinescanbefoundatwww.pas.org/publica-tions/submissions/manuscript-submissions.aspx. ThecommitteeisalsopleasedtoannouncePercussive Notes Online Research Edition,thefirst

peer-reviewedperiodicaltofo-cusentirelyonpercussionmusic.FollowingtheformerPercussive Notes Research Edition (1980-1987),aprintperiodicalthatfeaturedprofoundscholarshiponpercussiveissues,thisnewpub-licationwillbereleasedannuallyinadigitalformatandwillincludeadvanced,in-depthresearchonavarietyoftopics.TheScholarlyResearchCommitteewillserveastheEditorialBoardforthejour-nal,butotherPAScommitteeswillalsocontributebysupplyingrefereestoreviewproposals.Submissionsforthefirstvolumearecurrentlybeingaccepted,andscholarsconductingresearchinallareasofpercussionareinvitedtoprovidetheirwork.Submissionguidelinesandmoreinformationcanbefoundatwww.pas.org/publications/ResearchEdition.aspx. Thecommitteecontinuestoexplorenewwaysinwhichitmayhelptoencourageandsharescholarlyfindings.Primarily,re-centdiscussionshavefocusedoncreatingopportunitiesforcol-laborativeventureswithothersthroughoutthesociety.AtPASIC2013,thecommitteehelpedtopromotearesearchexperimentconductedbyDr.MichaelSchutz

RHYTHM! SCENE 25 APRIL 2014

andhisMAPLE(MusicAcousticsPerceptionLEarning)labthatexploredissuesofrhythmiccog-nition;theexercisewasahugesuccess,withPASICattendeesgreatlyexceedingthenumberofvolunteerparticipantsthatwasexpected.Dr.SchutzandhisteamwillbebackatPASIC2014,anditishopedthatpartnershipssuchasthisandthoseinconjunctionwithothercommitteesinPASmayre-sultinusefulresearchforpercus-sionistsinthefuture TheScholarlyResearchCom-mitteecurrentlyconsistsofKevinLewis(Chair),DrewAndreatta,MeggieAube,JeffCalissi,MollyCryderman-Weber,FabriceMa-randola,GraemeFrancis,RyanLewis,TomNevill,BillSallak,JimStrain,andAllenTeel.Thoseinter-estedincontributingtothecom-mittee’seffortsmustbeactivescholarsandshouldpossessorbenearingcompletionofaterminaldegree.Moreinformationonjoin-ingthecommitteecanbefoundatwww.pas.org/About/committees.aspx. RS

BECOME A MEMBER OF PAS

As a PAS member, you’ll get members-only access to valuable information, resources, networking events, educational opportunities and great discounts.

What You GetConnections & CommunityAs a PAS member, you’ll be part of a global network of drummers and percussionists with common interests. Whether you have questions to ask or information to share, the PAS com-munity can help. xyzExclusivePASSocialNetwork xyzLocalPASChapteractivities xyzPASIC—thebiggestpercussiongatheringintheworld xyzOnlinecalendarofevents

Education & AchievementPAS gives you many opportunities to improve your skills, learn new techniques, participate in professional development workshops, and gain recognition. xyzPASICandlocalchapterclinicsandmasterclasses xyzSoundEnhancedarticles xyzFUNdamentalslessonsandHOTlicksexercises xyzScholarships:PASawardsmorethan$25,000inscholarshipseachyear xyzCompetitions:solo,ensemble,marchingpercussion,composition xyzLeadershipopportunitiesonthelocalandinternationallevel xyzAwards

PublicationsPAS publications are known as the central source for percussion news and in-depth articles that you won’t find anywhere else. xyz Percussive Notes,bimonthlymagazine xyz Rhythm! Scene(formerlyPercussion News),bimonthlynewsletter xyzOnlineThesis/DissertationRepository

Research & ReferenceWhen you are looking for practice aids, technique tips, music to for your next contest or recital, information for a paper or report, or good percussion music to listen to, you’ll have access to some of the best resources. xyzDownloadsofhelpfulaudio,videoandprintmaterials xyzOnlineaccesstoPASpublicationsandarchives xyzCompositionsandreviewsdatabase

Discounts & SavingsYou’ll get great savings, scholarship opportunities and services to make your life a little easier. xyz10%Discountoneducationalbooks,videosandDVDsatallFive-StarDrumShops xyzCapitalOneVisaCreditCard xyzDiscountedratesonAutoInsurance,HomeInsuranceandRentersInsurancefromLibertyMutual. xyzDiscountoninstrumentinsurancefromClarionInsurance xyzPreferredmemberratesonautomobilerentalsthroughAlamoandHertz xyzDiscountedadmissionpricetoRhythm!DiscoveryCenter.

APRIL 2014 26 RHYTHM! SCENE

INDUSTRY NEWSMUSIC SALES GROUPMusic Sales Éditions Alphonse Leduc TheMusicSalesGroup,oneoftheworld’slargestindependentmusicpublishers,hasannouncedthatithasboughttheprestigiousFrenchmusicpublishinghouseÉditionsAlphonseLeduc. Inacquiringthe172-year-oldParisianpublish-inghouse,MusicSalesaddsmanysubstantialandwide-rangingworkstoitsexistingpublishingport-folio.Foundedin1842,ÉditionsAlphonseLeducbecameafamilybusinessthatstartedbyspecializinginpianotutors,thenexpandedtoacquireoperaticworksbyRossini,Bellini,Weber,andMeyerbeer,aswellaspiecesbyClémenti,Hummel,Weber,andOnslow,andafamouspianotutorbyViguerie.Later,theacquisitionofÉditionsHamelleaddedworksbyBrahms,Fauré,Lalo,Dvorák,Saint-Saëns,Mussorg-sky,andTchaikovsky.WhenÉditionsHeugelwasab-sorbedinthe1990sitbroughtwithitRossini’s“TheBarberofSeville”andDelibes’“Coppélia.”ÉditionsAlphonseLeducalsoacquiredtheHartmanncatalog,whichfeaturesworksbyMassenet,Franck,Lalo,andReyer. Morerecentpublishingacquisitionshavein-cludedworksbyOlivierMessiaen,FrancisPoulenc,JacquesIbert,DariusMilhaud,HenriDutilleux,KarelHusa,BetsyJolas,andJosephCanteloube.Aflourish-ingrangeofinstrumentaltutors,notablythoseforflutebyMarcelMoyseandPhilippeGaubert,rein-forceLeduc’straditionalstrengthintheeducationalprintpublishingsector. RentalsandlicensinginCanadaandtheAmericasarenowhandledbyG.SchirmerandAssociatedMu-sicPublishers,partofMusicSalesClassicalandtheMusicSalesGroup.

ROLANDRoland and QSC Announce Marketing Partnership RolandCorporationandQSCAudioProducts,LLChaveannouncedanewmarketingpartnership

promotingtheconceptofelectronicandhybridper-cussionasawholeandshowcasingthepairingofV-DrumsandKSeriesamplificationasatotalsolution. DrummershavecometotrustV-Drumsforgreatplayability,tactiledynamicresponse,silentmeshheads,supremesoundandeditingcapability,innova-tion,andindustrialdesign.Creatingthesoundsofauthenticacousticdrums,standardandexoticper-cussioninstruments,aswellascurrentandvintageelectronicdrumsareallpossiblewithV-Drums,givingtheinstrumentsawell-foundedseatintoday’smain-streampercussiondomain.Butinorderfordrum-merstoaccessthefullcapabilitiesoftheirV-Drumsinstruments,properamplificationiskey.Extremelyresponsiveelectronicdrumsneedauniquekindofstageamplificationthatisaccurate,haswideband-width,andiscapableofkeepingupwithguitarampsandotheramplifiedinstruments. QSCproductsareknownfortheirinnovation,val-ue,andperformanceinthemarketplace,andQSC’sKSeriesfamilyofloudspeakersoffersstudio-qualityreinforcementforV-Drums.V-Drumshaveamusicaldynamicresponsethatstandardamplificationcannotreplicate.Theamplificationsystemneedsdynamicheadroomtoaccommodatetransients,afrequencyresponsetoaccuratelyrenderthehighfrequenciesofacymbal,andthepowertoproduceasatisfy-ingkickdrum,allcomingfromV-Drums.ThisisalsotruewhenutilizingahybridkitconsistingofacousticdrumsandRolandpercussioninstruments.KSeriesamplifiersystemsaremorethancapableofplayingatvolumesthatcannotonlydrivetherhythmofthemusicwithauthoritybutalsomaintainaconsis-tentRolandsoundallacrossthelisteningareaandthroughoutthefullfrequencyspectrum. VisitRolandUS.comandQSC.comforfutureup-datesabouttotaldrummingsolutionsforhybridandelectronicpercussionperformance.

RHYTHM! SCENE 27 APRIL 2014

YAMAHAA Multi-Million Dollar Investment in High-End Drum Manufacturing Thefirstwaveofhigh-endacousticdrumproductionatYamaha’snewmulti-milliondollar,purpose-builtfacilityinXiaoshan,China,isnowwellunderway.BeginningwiththeacclaimedLiveCustomdrumset,Yamaha’snewfactorywillrolloutevenhigher-specseriesintheverynearfuture. Originallyestablishedin1997,XiaoshanYamahahasbeenproducingthecompany’smarchingdrumsandbrassandwoodwindinstruments.ThefacilityislocatedtwohoursoutsideofShanghaiandrepre-sentstheculminationofYamaha’sexperienceandinvestmentinhigh-enddrummanufacturing.ThebrightandspaciousworkspaceconformstoISO9000regulationsandboastsoneofthemostadvancedwastewaterrecyclingsystemsintheworld,withare-cyclerateofover90percent. Yamahahasalreadyincreasedthequalityand

consistencyofshellmakingbyimprovingitshigh-pressureairbagforshellforming,takingAirSealtechnologyandconstructionconsistencytoanewlevel.Inaddition,YamahahasbeenabletointroduceimpressivelasermeasurementtechnologyandamoreadvancedprocedureforUVdrying,whichwillincreasethedurabilityandlongevityofcolorfinishes. XiaoshanYamaha’sfirstreleaseisthewidelyac-claimedLiveCustomdrumset.Futureproductswillseeevenhigherspecificationsthatwillbereleasedathigherpricepointsasthelineupexpands. Yamaha’sdrumlabinJapancontinuestomaketheflagshipPHXSeriesand,alongwithitsin-housematerialsdivision,hasbeenworkingcloselywiththestaffatthenewfactory. Three Promotions YamahaCorporationofAmerica(YCA)an-nouncedthreepromotions.AthanBilliasisthedirectorofstrategicproductplanning,anewcor-porate-wideposition.DaveJewellisthemarketingcommunicationsmanagerintheCustomerSales&MarketingGroup,alsoanewcompany-wideposition.NateTschetterisnamedmarketingmanager,MusicProduction,ProAudio&ComboDivision. Billias,mostrecentlydirectorofmarketing,ProAudio&ComboDivision,joinedYamahain1998andhasheldanumberofpositions,includingmarketingmanagerforElectronicDrums,marketingmanagerforLiveSoundandmarketingmanagerforMusicProduction.Healsoservedasmanagerofcontent/researchanddevelopmentandmanagerofthefieldproductsupportgroup.From1996tothepresent,hehasservedontheExecutiveBoardoftheMIDIManu-facturersAssociation. Inhisnewrole,BilliaswillserveasaliaisonbetweenthemarketneedsofYCAandproductde-velopmentatYamahaCorporation,Japan,creatinganewdialogueprocessforYCAwithdealers,artistsandcustomers.Hewillalsoinvestigatenewbusi-nessproductareasinwhichYamahaisnotcurrentlyinvolvedandmanagerelationshipswiththird-partydevelopersintheUnitedStates. Jewellspent16yearsasproductmanagerandmarketingmanagerforYamahaDrums,overseeing

APRIL 2014 28 RHYTHM! SCENE

thedevelopmentofmanysuccessfulacousticandelectronicdrumproductlaunches.HealsoservedontheExecutiveBoardofthePercussionMarketingCouncilandhasraisedmorethan$50,000indona-tionstohelpfundType1JuvenileDiabetesresearchattheChildren’sHospitalofOrangeCounty. Inhisnewposition,Jewellwillworkcloselywithmarketingmanagersfromalldivisions,includingtheCustomerExperienceGroup,todevelopcomprehen-sivecorporateandconsumermarketinginitiativesthathelpacquirenewcustomers,managepartneral-liancesandenhancetheoverallbrandexperience. TschetterhasbeenwithYCAsince2010,serv-ingmostrecentlyasproductmanager,KeyboardDivision,whereheexecutedsuccessfulmarketingcampaignsanddevelopedengagingpresentationsfordealers,salesstaffandcustomers.

Fisher Named Marketing Manager for Electronic Drums YamahaCorporationofAmerica(YCA)an-nouncedtheappointmentofStevenFishertothepositionofMarketingManagerforElectronicDrums.Hisprimaryresponsibilitywillbetoadvancethemar-ketforthecompany’sDTXdrums,andhewillreporttoAthanBillias,DirectorofMarketing,ProAudio&ComboDivisionatYCA. BeforejoiningYamaha,Fisherspentmorethan20yearswithRolandCorporationU.S.,whereheheldnumerouspositionsinmarketingandproductdevelopmentandservedasaclinician.Priortothis,heenjoyedanexpansivecareerasaprofessionalmu-sician,performingandrecordingwithMaynardFer-guson,DizzyGillespie,Blood,Sweat&Tears,TLavitz,theTemptations,NatalieColeandmanyTVandmo-tionpictureproductionsandemergedasapioneerandwell-knownauthorityinthefieldofelectronicpercussion,fromdrum-machinestoelectronicdrum-sets.FisherwillworkcloselywithDavidJewell,YCA’sacousticdrummarketingmanager.

Yamaha Cares Raises Over $60,000 for Children’s Hospital of Orange County Forthesixthconsecutiveyear,YamahaCaresparticipatedintheSouthernCaliforniaHalfMarathon

and5KracestoraisemoneyfortheChildren’sHos-pitalofOrangeCounty’sTrialNetprogramforType1juvenilediabetesresearch.Thisyear,25Yamahastaffmembersandfriendscompletedoneofthetworaces,and51individualscontributeddonations,thehighestnumberofparticipantssincetheprogram’sinception.Theamountraised,morethan$10,000,bringsthegrandtotalofoveralldonationstomorethan$60,000.Children’sHospitalofOrangeCountyisoneofjustahandfulofresearchfacilitiesintheU.S.thatistryingtofindacureforType1Juvenilediabe-tes. YamahaCaresisanemployee-basedinitiativededicatedtocharitableworkstopromoteeducation,arts,healthandhumanservices,andcommunityde-velopmentintheareaswhereitsemployeesliveandwork,aswellastospreadthegiftofmusictopeoplethroughouttheU.S.RS

News items for “Industry News” must be received within three months of the date of the event.

Pleasesendmaterialsto: PercussiveArtsSociety110W.WashingtonSt.,SuiteA

Indianapolis,IN46204Email:publications@pas.org

RHYTHM! SCENE 29 APRIL 2014

APRIL 2014 30 RHYTHM! SCENE

PRODUCT SHOWCASEBLACK SWAMP PERCUSSION MultiPlates BlackSwampannouncedtheirnewMulti-Plateline,consistingofthreemetalplatesdesignedformountingandhangingvariouspercussionaccessoryinstruments.Thethreecontrastingplateshapes(Arc-Plate,TriPlate,Rec-Plate)providenearendlessmountingpossibilities.Eachplateshipsdirectwithacase,aswellasthenecessarysuspensionlines,Velcrostrips,andpoststoquicklyandeasilysuspendtriangles,mountcowbells,hangalmglocken,andmore.AdditionalMultiPlateaccessoriesareindevel-opment,includingacrotalemount,clavemount,guiromountandtriangletrigger. GROVER PRO ChromaTone Timpani Mallets GroverProPercussionInc.announcedthereleaseofChromaTone™SeamlessTimpaniMallets.Designedtobesphericallyshapedfromthestart,ChromaTonemalletsaremanufacturedutilizinganinnovativepro-cessthatresultsinauniqueconstructiveunionoffeltandcore.Unliketraditionaltimpanimallets,Chroma-Tonemalletsarenotconstructedfromaflatsheetoffelt.Grover’svibrantlycoloredfeltismoldedtoasol-idcoresothatthemalletheadwillfunctionasonemass.Elimi-natingtheneedforhand-stitch-ingsolvessuch

problemsasstrikingonseamsandvoids,andthelooseningofstitches. ThesoundofourChromaTonemalletscanbestbedescribedashavinggreatclaritywithafocusedpitchcenter.Thematingoftheseamlessheadstolightweightbamboohandlesmovesthecenterofgravitysignificantlyforward,improvingtheabilitytoproducearoundsonoritywithgreaterfundamentalpurity.Aroundtimpanimalletalsoallowsfortheplayertochangetheangleofthemalletwithoutaf-fectingthesound.Eachmodelinthelinerepresentsadifferentsoundandweightasdeterminedbyfeltthicknessandthreecoreoptions:cork,wood,andsynthetic. ThebamboohandlesofChromaTonemalletshavesmoothsleevesthatensureasecureholdandmorecomfortthantypicalbamboomallets.Whileeachpairofmalletsiscolor-codedforeasyandquickidentification,thereisalsoaplugatthebottomofeachhandlemarkedwiththemodelnumberforeasydistinguishingonatraptableifthecolorsarenotvis-ible.Thebambooishand-selectedforconsistencyindensityandstraightness,witheachhandlemeasur-ing14incheslongwitha0.5-inchdiameter.Everypairisalsocarefullyweight-andcolor-matched. Headless Tambourine GroverProPercussionInc.announcedtheaddi-tionofaprofessionalheadlesstambourinetoitstambourineline. “Thisisthefirstheadlesstambourinetoutilizethesamehand-hammeredjinglesthatourconcerttambourineshavebecomefamousfor,”statesFound-erandPresidentNeilGrover.“Weheardthatanum-beroftopstudioplayersinL.A.andNashvillewereplayingourtam-

RHYTHM! SCENE 31 APRIL 2014

bourinesonpopandcountryartists’hitrecords.Whatreallyshockeduswastolearnthattheywerecuttingtheskinheadsofftheframe!Aftertheshockworeoff,Iaskedforinputfromin-demandstudiomusicianslikeRichRedmond(JasonAldean),EricDarken(JimmyBuffet),andCraigKampf(LeeAnnRimes).” TheresultistheStudioProHeadlessTambou-rine.“Welearnedthatthetambourineshellmaterialhasadirectandfundamentalimpactonthesoundcharacteristicsoftheinstrument”statesGrover.“Woodissomuchwarmerandricherthanplastic.” Notonlyisthisinstrumentidealforstudiore-cording,butithasthecut,articulation,anddistinc-tivefull-bodiedsound,criticalforliveperformancesaswell. StudioProTambourinesfeature:hand-ham-meredGermanSilverandPhosphorBronzealloyjin-gles;dual-widthstaggeredjingleslots(pioneeredbyGroverPro);softrubbercomfortedgingthatprotectsyourhandsandtheshell;10-inchdiametersolidhardwoodshell;GroverProguaranteeofquality. MAXONIX StickARK Drumstick Holder StickARKisakickmountdrum-stickholderwithaninnovativedesignthat’seasy,afford-able,andveryef-fective.Itperfectlypositionsfoursticksrightinfrontofadrummer(onkick/bassdrum)witheasy-grabspacingbetweensticksforquickandconvenientretrievalandinser-tion.Whenadrummerneedsafreshstickduetoabreak,stylechange,drop,ortoreplacesticksthrowntofans,StickARKmakesitfastandeasy.StickARKholdsallpopularsticksizesandworkswithall“stan-dard”8–10lugkickdrums.Itstopsstickrattleandkeepssticksaccuratelylinedup.Usesfast,simpletool-freeattachmentthatauto-formsacustomfitoneachkickdrum.

PAISTE PST7 CymbalmakerPaisteannouncedthelaunchofthenewPST7.PaisteSoundTechnologystandsforfirst-classmanufacturedcym-balsandhighquali-tysounddesignatanaffordableprice.Paiste’sPST3,PST5andPST8rangesarebestsellersthatsetbenchmarksintheircymbalclasses.PST7addsanaffordablelinefordrummerswholikeatraditionalsound,lookandfeel. PST7’sbaseisCuSn8bronze,whichstemsfromthe2002series.ThecymbalsarelathedbyPaiste’sSwisshandcraftsmentoachievetheirdistinctivetra-ditionalfinish.TheresultofthepreciseSwissmanu-facturingisawarmandclearoverallsound,andbyofferingthreeweightclasses,light/thin,mediumandheavy,PST7coversawiderangeofdifferentmusicstyles. Forthefirsttimeinthispriceclass,the20”LightRide,14”LightHi-Hat,14”,16”and18”ThinCrashof-ferdrummersofblues,folk,andotheracousticstylesauthenticsoundswithgreatsensitivity,airywarmthandasoftfeel.Thesemodelsareidealfordrumandmusicschools. The14”Hi-Hat,16”and18”Crashesand20”Rideareextremelyversatilecymbalsbecauseoftheircontrollability.Theyareassertive,yetun-intrusivemakingthemsuitableforpop,rock,dance,brassband,andnumerousothermusicalapplications.Ifmorevolumeandaggressionareneeded,the16”and18”HeavyCrash,20”HeavyRideand14”HeavyHi-Hatprovidethemeatyenergythatispreferredforclassicandhardrock.Paistecompletestheassort-mentofPST7withtraditionaleffectcymbals:10”Splash,and14”and18”China. TheboxsetsUniversal“Medium”(14”Hi-Hat,16”Crash,20”Ride),Session“Light“(14”LightHi-Hat,16”ThinCrash,20”LightRide),Rock“Heavy”(14”HeavyHi-Hat,16”HeavyCrash,20”HeavyRide)andEffectsPack(10”Splash,18”China)offerprice-

APRIL 2014 32 RHYTHM! SCENE

consciousdrummersessential,perfectlymatchedmodelsofacymbalsetup. PST7aremadefrom2002bronzeinSwitzerlandusingtraditionalmethodsthathaveremainedun-changedinoverhalfacentury. PST5 CymbalmakerPaisteannouncedthelaunchofthenewPST5.PST5istheentrytoPaiste’sworldofbronzecymbals,andsinceitsintroductionin2005,itcontinuestobeabestseller.Consideringrecentmusicaltrends,thePST5wasnewlydesignedbyPaiste’sSwissSoundDevelopmentTeam. VisuallythePST5wereconsciouslyalteredonlyindetail,buttheirfundamentalsonicvaluechangedconsiderably.Thecymbalsarelighter,resultinginadeeper,warmersoundwhilepreservingtheirbrightbasiccharacter.Theyhaveincreasedflexibility,result-inginamoreappealingfeel.OverallthenewPST5issignificantlymoremusical. Beginnerswillfindagreatstartingcymbalsetwiththe14”,16”and18”MediumCrashes,20”Me-diumRideand14”MediumHats.The8”and10”Splashenrichtheassortmentwithfast-respondingeffectcymbals.Thereisalsoan18”Chinaavailable. Forthefirsttimeinthisclass,Paisteintroduced14”SoundEdgeHats,aPaisteinventionthatdatesbackto1967.The18”Ride/Crashcanbeusedasalightrideforlowerpassagesorasapowerfulcrashwithsolidvolume. UniversalSet(14”MediumHats,16”MediumCrash,20”MediumRide),RockSet(14”SoundEdgeHats,16”RockCrash,20”RockRide)andEssentialsSet(14”MediumHats,18”Ride/Crash)comewithnewlydesignedboxesandofferprice-consciousdrummersperfectlymatchedbasicsetups.TheEf-fectsPack(10”Splash,18”China)isanexcellenten-hancementtoanexistingsetofcymbals.

PST5aremadefrom2002bronzeinPaiste’sGer-manfacility. PREMIER New APK Kits and Finishes Premierhasannouncedthein-troductionofnewkitsandfinishestoitsAPKrange.Fol-lowingthepopular-ityofthecompactandportableAPKHeritagesetups,therangeincludestheJazz20(12x8tom,14x14floor,20x14bassand14x5snare)andConcertMaster24(13x9tom,16x16floor,24x14bassand14x6.5snare)shellpacks.Thisrangeisidealforsmallerspacesorportabilitywithnocompromisetothesound. Twonewvoguishcolorsarealsobeingintro-ducedtotheAPKHeritage:aclassicWhiteMarineandSilkWalnutSatin. TwoadditionalnewfinishesarebeingintroducedtothestandardAPKoffering:GunmetalSparkleWrapandPolarWhiteWrap. New Genista Options PremierhasintroducednewoptionstoitsGenis-tarange. LaunchedattheNAMMShowweretwonewkits:aQuickFive22(10x7tom,12x8tom,16x14floor,22x18bassand14x6.5snare)andaBebop20(12x8tom,14x14floor,20x14bass,14x5.5snare). Genistahaslongbeenapopularchoicefordrum-mersseekingaprofessionalall-birchkit.Thesenewkitscontinuetoof-ferbirchshellsandareupgradedtoincludeanun-drilledbassdrumformaximumshellresonance,amatching10-lugsnaredrum,Remo

RHYTHM! SCENE 33 APRIL 2014

ClearEmperordrumheadsforbrightersoundingtoms,andaredesignedtomclampsystemprovidingoptimumtomplacement. TheQuickFive22kitisavailableinIridiumBlazeSparkleLacquerwhiletheBebop20isavailableinPharaohSparkleLacquer.Premierwillalsolaunchalimitededitionrunof50Bebop20kitsinaRainbowWood. New Branded Merchandise and Web-Store Premierhasannouncedthelaunchofitsnewbrandedmerchan-diserangeandweb-store.Therangeoffersacol-lectionofapparelandaccessories,in-spiredbythePremiernameanddesignedspecificallyfordrummersofallages.ThecollectionfeaturesPre-miersweatshirts,teesandaccessoriesplusanexclu-siveretro-style“P”badgeprintedteeandmessengerbag.Apop-artthemedteehasalsobeenintroducedforchildren.Overthecomingmonths,furtherde-signsandaccessorieswillbeaddedtotherangein-cludingmediacases,headwearandotherfashionanddrum-relatedproducts. Theweb-store’sfeaturesandfunctionalityallowthecustomertobrowseeasily,selectsizeandquanti-tyrequirements,andupdatetheirshoppingcartef-fortlessly.Paymentcanbetakeninanumberofcurrenciesandshippingisglobal. Premierinvitesdrummersandenthusiaststoex-periencethenewweb-storeforthemselvesatshop-bravado.com/stores/premierdrums. Updated XPK Finish Options Premierhasin-troducedthe2014collectionoffinish-esforitsXPKrange. TheXPKExclusivedeliversanall-birch

kit,finishedwithanouterplyofash,intwocontem-porarykitofferingswithundrilledbassdrumsandmatchingwoodsnaredrums.LaunchedatNAMM2014werethreenewfinishestotheXPKExclusive:BurntOrangeSatin,OceanBurstSatin,andWalnutSatin.Thesecolorswillcomewithchromehardware,unlikeCherryBurstSatinandBlackAshSatin,whichwillcontinuetocomewithblackhardware.DroppingoutoftherangewillbeNaturalBurstSatin. ThreestandardXPKfinisheswillbediscontinuedin2014:LatteFadeLacquer,NaturalFadeLacquerandTequilaFadeLacquer.ReplacementfinisheswillbescheduledforintroductiontotheXPKrangelaterthisyear. New XPK Snare Drums Premierhasin-troducedanewcollectionofsnaredrumstoitsXPKrange.Theofferingofwoodsnaresfea-tureanall-birchshellwithanouterplyofash.Availableintwofinish-es,NaturalSatinwithchromehardwareorBlackAshSatinwithblackhardware,thesesnaresprovideout-standingvalueformoney. Availableinsixsizes—10x5,12x6,13x7,14x5.5,14x6.5and14x8—eachsnarefeatures1.6mmtriple-flangesteelhoops,astrongyetsmoothsnarestrain-erandthrow-off,andacoateddrumhead. XPK Special Edition Concert Tom Kit PremierhasintroducedtheXPKSpecialEditionkit,aneight-piececoncerttomkitthatisin-spiredbytheret-roconcerttomkitsofthe1970s,preferredatthetimebysomeoftheworld’slead-ingrecordingand

APRIL 2014 34 RHYTHM! SCENE

performingdrummersincludingthelegendaryKeithMoon. Thisnewofferingdeliversanall-birchshellwithclassicmountedtomsandcleardrumheadswithablackdotforamorecontrolledsound.Allfittingsarechrome-platedandthekitiscomplementedwithamatchingwoodsnaredrumandmatchingbassdrumhoops. TheConcertTom22set-upincludesan8x6tom,10x7tom,12x8tom,13x9tom,14x14floor,16x16floor,22x16bassanda14x6.5snaredrum.Atomholderandadditionaldoubletomstandarealsoin-cluded. YAMAHA DTX502 Electronic Drumsets with Laser Technology YamahafeatureditsrevampedDTX502electronicdrumsatthe2014NAMMShow.BasedontheDTX-PAD,thenewkitsfeatureredesignedtompads,alighter-weightsteelrack,alaser-enhancedplayingexperience,andanew,morepowerfuldrumtriggermodule. TheDTX502drumtriggermoduleincludes691professionalandexpressivesoundsfeaturingnewdrumandcymbalvoices,alongwithupgradedver-sionsofclassicYamahaacousticdrums.Thesystemletsdrummerseasilycustomizetheirsoundwithed-itingandvoicelayeringandofferstheabilitytoim-portnewdrumsamplesintothemoduleforvirtuallyendlesssoniccapabilities.Abuilt-insequencerpro-videsawidevarietyofsongstoplayalongwithandrecordperformances.ItalsoincludestheabilitytoloadnewMIDIsongfilesforfurtherexpandability. Duringthedevelopmentphase,Yamahacreatedproprietarylasertechnologytoanalyzedrumstrokesandpreciselytunethetriggerset-tings,sothattheplayingexperienceoneachofthesesetsprovidesamorenaturalfeel.Thenewseriesalsoincludesad-vancedfeatures

fromhigher-endDTXmodels,suchascymbalmuting,naturalswellsandsmoothersnaredrumrolls. ThenewDTX502modulehasastreamlinedfrontpanellayoutandfeaturesplugandplayUSBconnec-tivitytoacomputer.ThenewdesignallowstheDTX502tobeeasilymountedtoacousticdrumhard-wareusingastandardmulti-clampforuseinahybridacoustic-electronicdrumset. TheDTX502seriesincludesnewtrainingandedu-cationalfunctionsfordrummerstoimprovetheirplayingatanyskilllevel.Witheightpracticeroutinesthathelpdeveloprhythmictiming,padaccuracyanddrummingendurance,thesystemcalculatesascoreaftereachsessionsothatdrummerscantracktheirprogress.TheDTX502isalsocompatiblewithmanyofYamaha’snewappsforiOS,includingSongBeatsforvisualizingthedrumpartstoyourfavoriteMIDIsongsandMusicSoftManagertomanagecustomkit,songandsampledata. TheDTX522K,themostaffordablemodelintheseries,includesthethree-zoneXP808”DTX-PADsnareandthreenewlydesignedTP707.5”tompads.ThenewTP70padissofterandquieter,yetmoreex-pressivethanthepreviousmodel.Thiskit,whichcomeswiththree-zone,choke-ablerideandcrashcymbals,showcasesathree-zonehi-hatpad.ThenewRS502racksystemusessteelpipestooffersolidper-formanceandflexiblesetupoptionsinalightweightpackage. Thenextkitinthelineup,theDTX532K,usesthesamedrumpadsandracksystemastheDTX522Kbutfeaturesanupgradedhi-hatandtwolargePCY13513”three-zonechoke-ablecymbalpads.TheRHH135verticalmotionhi-hatpad,whichmountstothein-cludedYamahaHS650Ahi-hatstand,providesasetupthatmorecloselymatchesanacoustickit. ThetopmodelinthisseriesisthenewDTX562K,whichincludes13”crashandridecymbalsandtheRHH135hi-hatpad,upgradesthetomstoanall-DTX-PADconfigurationwiththreeXP707”padssothatplayingthekitfeelscomfortableforeventhemostdemandingacousticdrummer. http://4wrd.it/dtx502

RHYTHM! SCENE 35 APRIL 2014

DTX Electronic Drum Accessories Program Yamaha’sDTXAccessoriesPro-gramfeaturescol-oredboxeswithproductphotosandspecificationiconstoclearlyidentifytheproductanditsapplications.Thenewsystemhelpstakethemysteryoutofcreatinghybridkitsbymakingiteasiertocon-figuredrumpads,cymbalpads,soundmodulesandotherelectronicofferings.ThismerchandisingefforthelpsretailersandconsumersnavigateYamaha’sex-pandedproductlineandincludesnewsignageanddisplayoptions. http://4wrd.it/YAMAHAUSA New Absolute Hybrid Maple Drumsets Yamahahasintro-ducedtheAbsoluteHy-bridMapledrumset.Asthenameim-plies,theAb-soluteHybridMapledrum-setcombinesacoreplyofharderWengewoodwithouterpliesofNorthAmericanMaple.Thisuniqueconfigurationproducesadrumwithanexpressivetoneandawidedynamicrange. AbsoluteHybridMapledrumsetsfeatureahooklugoriginallydesignedforthePHXSeries,whichbringsoutthedrum’snaturaltonebycreatingasmallfootprintontheshell.Inadditiontoallowingquickandeasyheadchanges,thelugsprovideprecisiontuning. Otherfeaturesintheseriesincludeanewpiston-drivesnarestrainer,hingedfloortomlegbrackets,alow-massbassdrumbracketandthesamestyleofspursfirstintroducedontheLiveCustomdrumset.Yamaha’sexclusivestaggereddiagonalseamandAir-

SealSystemshell-makingprocessproducesstrong,consistentshells. Evenwiththeenhancementsandupgrades,thepricetagforthenewAbsoluteHybridMapleisal-most30percentlessthanitspredecessor. http://4wrd.it/YAMAHAUSA Stage Custom Birch Drumset Makeover Yamahahasintro-ducedthere-designedStageCus-tomBirchdrumset,whichhasre-ceivedsever-alsignificantupgrades.YamahaupgradedtheshellswiththesamethickerplyconceptusedonLiveCus-tomandroundedthebearingedgesformorehead-to-shellcontact,whichprovidesafattersound.TheAbsolutestylelug,whichattachestotheshellusingasinglescrew,requiresfewerholesintheshellandlessmetalinsidethedrum,allowingthedrumstoresonatemorefully.Die-castclawsandnewspursnowadornthebassdrum,andthesnaredrumnowincludestenlugsformoreprecisetuning. StageCustomBirchkitsalsocomeinnewsizes.Tomandfloortomsizesarenowavailableattradi-tionaldepthsanddiameters,offeringwidertuninganddynamicranges.Thefloortoms,trimmeddowntobeundersquare,provideabettertonetoattackbalance.Thedrumsetsalsoofferexcellentfinishes,high-endspecsandsuperiorhardwareatagreatval-ue. http://4wrd.it/yamahadrums Redesigned Timpani Lines Yamahafeaturedthenew4300,6300and7300Seriestimpanimodelsatthe2014NAMMShow.Newbowlandframedesignsprovidedeeper,richertones,betteroverallpitchclarity,morenaturalsus-tainandtonalaccuracy.Anadjustablemounttuninggaugeallowsplayerstoeasilyarrangesetupsbe-tweenGermanorAmericanconfigurations,while

APRIL 2014 36 RHYTHM! SCENE

newwheeldesignsthatfeatureheight-adjustablelargercastersandadjust-ablethirdwheelsprovidebetterpor-tability. The7300Series,withaHammeredCopperbowl,pro-videsahigherendlookandfeelforhighschoolthroughprofessionallevelapplications.WithaSpunCopperbowl,the6300Seriesisamoreupscaleoptionforhighschoolsanduniversities,aswellasdrumcorpsandotherindependentmarchingensembles. Idealformiddleandhighschoolsymphonicandconcertensembles,model4300SeriesfeaturesasuspendedSpunAluminumbowlthatproducesamuchmorenaturalsoundandsustain,andprovidesamoreenvironmentallyfriendlyalternativetotradi-tionalfiberglass. http://4wrd.it/YAMAHAUSA 8300 and 9300 Series Marching Drums Yamahafeaturedthe8300and9300SeriesMarchingDrumsatthe2014NAMMShow.After30yearsofsuccessfuldevelopmentandbuildingBirchdrumshells,YamahabringsMapleshellstofieldcompetitionswithnewmarchingsnare,tomandbassdrummodels.TheentriesfeaturethesamepopularMapleshelldesignthathasbeentestedwithaward-winningdrumcorpsandindoorpercussionorganiza-tions,andhasproventobeagreatperformer,bothphysicallyandmusically. Thesedrumscanprovidedepthandprojectionwithoutoverpow-eringtherestoftheensemble,yetstillmaintainaclear,articulate

sound.Chromehardwareisnowstandardonsnaredrums,offeringimproveddurabilityandamoreinte-gratedlookwiththerestoftheseries. http://4wrd.it/8300multitomsandhttp://4wrd.it/8300bassdrums Oak Concert Toms Yamahafea-turedthe9000Se-riesConcertTomsatthe2014NAMMShow,whichaddsOaktothecompa-ny’spercussionline.Musically,Oakisknownforgreatattackandsustain,makingitasought-afterwoodfordrummersofallgenres.Thenewdrumsfeaturethesameupdated6-plyOakshellsfoundonYamaha’sLiveCustomdrumkits.Play-erswillnoticeanincreasedsensitivityandwiderdy-namicresponse,whiledirectorsandarrangerswillnoticeamorepunchysound.WiththeadditionofthenewYESSIIImountingsystem,theywillalsono-ticemorestability,increasedsustain,openresonanceandlessabsorption.Thenewseriesisidealforhigh-er-levelconcertbandandpercussionensembles,professionalmusicensembles,andpitandfieldper-cussionists. http://4wrd.it/9000concerttoms CSM Concert Snare Drums Revisions YamahafeaturedtheCSMSeriesConcertSnareDrumatthe2014NAMMShow. Theredesigned13”and14”CSMSeries(models1350AII,1450AIIand1465AII)offerimprovedsoundquality,alongwithasimple,user-friendlinessthatmakesthemgreatoptionsforthein-termediateplayerorindividualatthemiddleschool,highschoolorcollegelevel,andforawidevarietyofmu-sicalapplications.

RHYTHM! SCENE 37 APRIL 2014

Withtheseupgrades,theCSMSeriesnowhastheex-pressionandplayabilitytypicallyfoundinmoreex-pensivemodels. Aspeciallydesigned8-plyshellallowsformoresensitivityandwiderdynamicresponse,whilenewQ-typestrainershavealsobeendesignedforsmootheroperation.Improvementstothe13”CSM-1350AIImakeitmoreutility-driven,givingitalighterresponseandfeelwithanoticeablybrightersound. http://4wrd.it/csmIIseries Upgraded Concert Bass Drums Yamahafeaturedthe7000and9000SeriesCon-certBassDrumproductlinesatthe2014NAMMShow.The7000Series(modelsCB-7028/7032/7036)offersasimple,user-friendlyoptionformiddleschool,highschoolorcollegeconcertbandsandorchestras.The9000Series(mod-elCB-9036)deliv-erssolidbottomendformoread-vancedapplica-tions,includinghighschool,uni-versity,collegiate,symphonic,or-chestral,drumcorpsandotherindependentmarchingensembles. AnewDarkwoodstainfinishprovidesamorere-finedbutnaturallookwhilematchingotherconcertdrumsintheYamahaproductline.Speciallydevel-opedshellandbearingedgesimprovelowfunda-mentaltoneprojectionwithouttheneedforcomplicatedsuspensionstands.Improved,simplestanddesignsfeatureintegratedfootrests,andse-curelymountthedrumandreducetheoverallstanceforamorenatural,comfortableplayingposition. http://4wrd.it/7000bassdrum

ZILDJIAN New Gear For 2014 TheAvedisZildjianCompanyannouncedthelaunchofnewgearitemsfor2014.In-cludedinthelineupareFivePanelHatsinBlackandCamofeaturingablackembroiderypatchwiththeZildjianlogo.AthirdClas-sicFlatBillHatwithawhiteembroideredZildjianlogoroundsoutthelaunchofnewcaps. AnewClassicBlackZildjianTank,WhiteTeewithaCamoZildjianLogo,andZildjianLogoBasketballJerseyarenewadditionstoZildjian’slineofclothingthisyear.Finally,ZildjianisofferingZildjianPhoneCasesandSiliconeWristbandsin2014. Joey Kramer Artist Series Drumstick and Neon Drumsticks In Three Colors TheAvedisZildjianCompanyannouncesthere-leaseofanewlydesignedartistseriesdrumstickfromJoeyKramer,drummerwiththelegendarybandAerosmith.Joey’snewstickfeaturesaRAWfinishwithbeefyneckandlargebeadfordura-bilityandsupersol-idresponse.Thenew2014designalsofeaturesZildjian’sexclusiveDIPcoatinginabrightgreencolorshowingJoey’ssignaturetogetherwiththeiconicAerosmithlogo.Specifications:U.S.SelectHickory.Size16¼”/0.550 TheZildjianCompanyisalsoreleasingitspopular5AAcornmodeldrumsticksinaselectionofnewmulti-layerneoncolorfinishes.Colorsavailablein-cludeneonyellow,greenandpink.Thesefinishesalsoglowunderblacklight.Specifications:U.S.Se-lectHickory.16¼”/0.570.RS

APRIL 2014 38 RHYTHM! SCENE

TMEA 2014STORY AND PHOTOS BY LAUREN VOGEL WEISS

PercussionwaswellrepresentedattheTexasMusicEducators

Association(TMEA)ConventionheldinSanAntonioFeb.12–15.TheTexasPASChapterhadanexhibitboothtopromotethesociety,andexcitementwasalreadybuildingfor2015whenPASICreturnstotheAlamoCity. Thursdayfeaturedonlyonepercussionevent:aclinic/performancebytheSpring High School Percussion Ensemble fromSpring,justnorthofHouston,underthedirectionofJD Guzman.“ThePercussionEnsemble:ThinkingOutsideoftheBand”includedperformancesofGuzman’sarrangementofPhillipGlass’s“EinsteinontheBeach,”“Surge”byRobSmith,“EdgeoftheWorld”byNathanDaughtrey,BobBecker’s“Mudra”featuringjuniorAll-StatememberZach Borromeo,and“Always”byGabeMusella.Lalo DavilajoinedtheensembleforhisownarrangementofNuevaManteca’s“EnCualquireClave”asthefinale. Fridaybroughttwomorepercussionsessions:Rick Rodriguez ledtheCedar Ridge High School (Roundrock,Tex.)PercussionandLowBrassEnsemblesin“FromSeedtoHarvest.”TheyopenedwithtwoTexaspremieres,“CedarRidgeFanfare”(foreuphoniumensembleandtimpani)byGabeMusella,followedby“SkyMusic”(forpercussionensembleandlow

LaloDavila(center)wastheguestartistwiththeSpringHSPercussionEnsemble,underthedirectionofJDGuzman(right)

She-eWuwasthemarimbasoloistinMiki’s“MarimbaSpiritual”withtheCedarRidgeHSPercussionEnsemble

brasschoir)bySarahSantaCruz.Nextwas“Fractalia”byOwenClaytonCondon,HillsonUnited’s“Oceans(WhereFeetMayFail),”andMinoruMiki’s“MarimbaSpiritual,”featuringguestmarimbasoloistShe-e Wu.

Theprogramendedwitharousingperformanceof“PreludetoParadise”byJacobRemington. SponsoredbyLudwig-Musser,Jim Catalanotaughta“Percussion101Refresher”cliniconFriday

RHYTHM! SCENE 39 APRIL 2014

afternoon.Hecoveredeverythingfromsnaredrumtobassdrum,cymbalstocrotales,andevensqueezedinmostofthepercussionaccessories!Later,theTexas A&M University-Commerce Percussion EnsemblegaveaMusicShowcaseconcertoutsidetheWestExhibitHall.TheirfinalewasanotherperformanceofMiki’s“MarimbaSpiritual,”thisonefeaturingTAMU-CommerceDirectorofPercussionStudiesDr. Brian Zatorasthesoloist. Saturdaymorningfeaturedthreemorepercussionevents:firstupwasYale SnyderfromMonroeTownshipPublicSchoolsinWilliamstown,NewJersey.HisproductshowcasedemonstratedvariousteachingmethodsutilizingthenewpercussionmethodbookTotal Percussion Jam.NextwasDarrin HicksfromFlowerMoundHighSchoolinNorthTexas.Hisclinic,“TeachingPercussionfromthePodium:ANoFearApproach,”featuredtwo8th-gradestudentsfromtheFlowerMoundHighSchoolcluster.Moreinformationabouthispresentationcanbefoundatwww.PercussionFromThePodium.weebly.com. AnotherNorthTexan,Bill BachmanfromtheMarcusHighSchoolcluster,alsoinFlowerMound,presented“PreparingMiddleSchoolHandsforHighSchoolPercussion.”HewasassistedonstagebystudentsfromBriarhill,Downing,andLamarMiddleSchools.Examplesofhisexercisesmaybedownloadedfromwww.DrumWorkout.com. TexasPAShelditsannualbusinessmeetingonThursday,February13,presidedoverbyTexasPASPresidentKennan Wylie. RS

JimCatalanodemonstratingthebassdrumduringhis“Percussion101Refresher”clinic

Dr.BrianZatorwasthesoloistinMiki’s“MarimbaSpiritual”withtheTexasA&MUniversity-CommercePercussionEnsemble

BillBachmandemonstratessnaredrumtechniqueinhispresentation“PreparingMiddleSchoolHandsforHighSchoolPercussion”

APRIL 2014 40 RHYTHM! SCENE

UPCOMING EVENTSAPRIL 2014Washington State PAS (Eastern) Concert in SpokaneWhen: April3Where:GonzagaUniversity,Spo-kane,Wash.WAPASwillbehostinganEveningofPercussionfeaturingperfor-mancesbyRobbin’sRebelsDrum&FifeCorps,soloistMichaelWal-drop,localcollegiatesoloistsandensembles,andwinnersoftherecentEasternWashingtonMusicEducatorsAssociationSoloandEn-semblecontest.More info: www.gonzaga.edu/Academics/Colleges-and-Schools/College-of-Arts-and-Sciences/Ma-jors-Programs/Music/default1.asp

Oklahoma Percussion Festival 2014When:April4–5Where: SouthwesternOklahomaStateUniversityTheOklahomaPercussionFestivalwillprogramhighschoolanduni-versitypercussionensemblepro-grams,guestartistperformancesandstudentsoloandchambermusicpresentations.GuestartistsincludeJiHyeJungandLineUponLinePercussionTrio.ThefestivalwillbehostedbytheOklahomaPASChapterandSouthwesternOklahomaStateUniversity.Dr.DavidBessingerwillserveascoor-dinator.More info: David.Bessinger@swosu.edu;http://www.swosu.

edu/academics/music/calendar/spring.aspx

NW Percussion FestivalWhen:April4–6Where:CentralWashingtonUni-versity,Ellensburg,Wash.TheNWPFisanannualeventthatcelebratesNWpercussionartistsandthecollegeanduniversityper-cussionensemblesfromaroundthenorthwesternUnitedStates.Themainfocusofthefestivalhastraditionallybeentheuniversitypercussionensembleperformanc-es.Eachparticipatingensemblereceivesa50-minutesessiontopresenttheirprogram.Depend-ingonthenumberofschools,theensembleperformancesareinterspersedwithclinicsbyguestartistsandthedirectorsoftheensemble.Itisawonderfuloppor-tunitytosharewhateachofusisdoing,hearnewliterature,exposeourstudentstomoreplayersandstyles,andforallofustohangout!MichaelUdow,retiredProfes-sorofPercussionatUniversityofMichigan,willbetheguestartistforthefestival.CWU’sensemblewillperformhismusicwithhimontheopeningconcertFridayeve-ning.More info: MarkGoodenberger:goodenbm@cwu.edu

3rd North Louisiana Youth Percussion Ensemble FestivalWhen: April4–5Where: StoneTheatre,HowardCenterforthePerformingArts,Ruston,Louisiana.She-eWuwillbetheguestartistforthe3rdNorthLouisianaYouthPercussionEnsembleFestival.AFridayeveningconcertfeaturingShe-ewillopenthefestival.OnSaturday,severalhighschoolswillperform.TheeventconcludeswithafinalconcertfeaturingShe-eandtheHonorsYouthPercussionEnsemble.Forticketpricingandcompleteconcertdetails,visitper-cussion.latech.edu.More info: www.latech.edu/per-formingarts/music/community_groups/nlypef.shtml

2014 Indiana Day of PercussionWhen:April5Where: CenterGroveHighSchool,Greentown,Ind.More info: JoshTorres,TORRESJ@centergrove.k12.in.us;www.facebook.com/events/628436337200708

Washington State PAS Stage at World Rhythm FestivalWhen: April5–6Where: SeattleCenter,Seattle,Wash.FREE!Concerts,clinics,etc.Jazz,classical,etc.Thisisthefirsttimeinmanyyearswearegettingbacktoinvolvementwiththefestival.

RHYTHM! SCENE 41 APRIL 2014

20+yearsago,PASwasafoundingorganizationofthisevent.Thefes-tivalhastonsofworldmusicclin-ics,workshopsandperformances.WewillbebringinginthemissingWesternformsofpercussion.Doorprizes!Giveaways!More info: http://swps.org

Great Lakes Steelpan Festival 2014When:April12Where: IllinoisThe2014GreatLakesSteelpanFestivalisbeingcoordinatedbyPottsandPans,Inc.,NFPfromWoodstock,Ill.Thegoalsofthefestivalaretoprovideafunandeducationaleventwhereeveryonecanplaypan,learnfromothergroupsandclinicians,andhearothergroups.For2014,thePotts&Pansteam(MattPotts,AnthonyJayHouston,andChristinaGuer-rero)havearrangedthereturnofclinicianandguestartistGaryGib-son,alongwithFreddyHarris,IIIandKurrySeymour.Thisyearalsoincludesamassbandperformanceattheeveningconcert,whereallparticipantsfromtheeventwillbeabletoplaytogether.More info: steelpanfestival.com;facebook.com/steelpanfestivalEmail:steelpanfestival@gmail.com

MAY 2014Alaska Day of PercussionWhen:May3Where: TrinityPresbyterianChurch,Anchorage,AlaskaTheAlaskaDayofPercussionwillbringtogetherthestate’sprofes-sionalandstudentpercussionistsforadayorperformancesand

clinics.TheheadlinerthisyearwillbeDr.DanMoore,professorofpercussionattheUniversityofIowa.Localpercussionistswillalsoperformandpresentclinics.Thefeewillbe$10forthewholeday,andfreeifyouareaPASmember.More info: MeggieAube,meg-gieaube@hotmail.com

Washington State PAS Chapter 2014 Day of PercussionWhen:May3Where: UniversityofWashington,Seattle,Wash.TheWashingtonStateChapterofPASannouncesapubliceventforstudents,pros,enthusiasts:theWAPASDayofPercussionatUW,inandaroundMeanyHallandUWSchoolofMusic.Incollaboration,UWPercussionClubishostingMichaelBurrittforamasterclass(timeTBA).Thepublicisinvitedtowatch.(ParticipantsmustbeUWstudentsandmembersoftheUWPercussionClub)BurrittwillalsobeperformingarecitalatUWSchoolofMusicat7:30p.m.Free-willdonationswillgotoWAPASandUWPercussionClub.More info: EdHartman,edrums@aol.com

Conservatory of Music of Puerto Rico Spring Percussion ConcertWhen:May3Where: TheaterGuillermoandBertitaMartínez,JesúsMaríaSan-romáHallProf.DianaE.Valdés-Santos,conductor.WorksbyJ.Gottry,N.Daughtrey,B.William-Dietz,amongothers,willbeperformed.Alongwiththeensemble,student

dancersfromtheschoolwillbeperformingAfricanrhythms.Theconcertisopentothecommunityandisfree.Childrenarewelcome.More info: DianaValdez,chi-ki000@hotmail.com

Louisiana Tech University Percussion Ensemble with Joshua KnightWhen:May12Where: LouisianaTechUniversity,Ruston,LouisianaMore info: GregoryLyons,gly-ons@latech.eduRS

APRIL 2014 42 RHYTHM! SCENE

SUMMER WORKSHOPS

AFRICA STUDY DRUMMING IN AFRICA!•SummerSessionI:June18–July10 •SummerSessionII:July9–31•WinterSession:December31–January12Course of Study: WinneroftheTopShort-TermProgramAwardfromAbroad101andSTATravel.JoinThisWorldMusic®and UMassAmherstaswejourneytothesceniccoastalvillageofKopey-iainGhana,WestAfrica,wheretraditionspasseddownforcentu-riesarekeptaliveintheiroriginalform.Participantsliveandstudyattheworld-renownedDagbeCulturalInstitute,receivinghands-onpro-fessionalinstructionfromlocalartistsintraditionalWestAfricandrumminganddance.TheDagbeInstitute’srigorouscurriculumandauthenticnaturalsurround-ingsmakeforanexperienceunlikeanyother.WhentravelingaroundGhana,groupactivitiesinclude:exclusivetourofatraditionaldrummaker’sworkshop;privateperformanceandmasterclasswiththeacclaimedGhanaNationalDanceEnsemble;naturewalkthroughtheKakumNationalParkrainforestreserve;andaguidedtourofhistoricCapeCoastCastle,designatedaUNESCOWorldHeri-tageSiteduetoitsprominentroleinthetrans-Atlanticslavetrade.

Tuition:SummerSessions:$3,250.WinterSession:$2,250.Tuitionincludes:instruction;accommoda-tions;mostmeals;culturalevents;useofpersonalcellphonethatworksinternationallyfromGhana;in-countrytransportation;travelinsurance;and6credits(under-graduateORgraduate)throughtheUMassDepartmentofMusic&Dance.Eligibility:Enrollmentisopentostudentsandprofessionalsworld-wide,aswellastothegeneralpublic.Contact:JeremyCohen:jcohen@thisworldmusic.comMoreinfo:www.thisworldmusic.com/Ghana-Tours

GHANA TOPICS IN WORLD MUSIC CULTURES May13–June11,2014 Course of Study: LedbyinstructorDr.MikeVercelli,studentsareim-mersedinacontemporaryAfricancontextfromtheperspectiveofthearts.InordertoexperiencethevitalityoftheWestAfricanspirit,participantsstudythemu-sic,danceandcultureofGhana.Thetripwilltakeplacethroughoutthecountrytoexperiencethewiderangeofculturespresent.Participantswillstudywithre-nownedmasterdrummerandgyilvirtuosoBernardWomaathisDagaraMusicCenternearAccra,

thenation’scapital;theDagbeCulturalInstituteandArtsCenterlocatedinthevillageofKopeyiawithrenownedEwedrummeranddancerEmmanuelAgbelli;inTa-male,theheartoftheDagombawithmasterdancerSulleyImoro;andaworkshopinGhana’sNa-tionalTheaterwiththeNationalDanceCompanyofGhana.Specificactivitieswillvarydependinguponindividualinterestsbuteachstu-dentwillhavetheopportunitytostudymusic,dance,andculture;participateintours,attendmusicanddanceperformances,partici-pateindrumbuildingworkshops,experienceGhana’secosysteminKakumNationalPark,andvisittheUNESCOWorldHeritagesitesofElminaandCapeCoast. Tuition: $3,900includes:tuition,roomandboard,allperformancesandworkshops,entrancetoallparksandmuseums,transporta-tionthroughoutGhana,mostmeals,internationalhealthinsur-ance,andsixWVUmusiccredits.Doesnotinclude:passport/visafees,immunizations,personalex-penses,andairfare.Financialaidcanbeappliedtotuitionandpro-gramcosts. Contact:Dr.MichaelVercelli,Di-rectoroftheWorldMusicPerfor-manceCenter,P.O.Box6111,WestVirginiaUniversity,Morgantown,WV26506;Tel:034-293-4660;Email:Michael.vercelli@mail.wvu.

RHYTHM! SCENE 43 APRIL 2014

edu;Web:https://studyabroad.wvu.edu/index.cfm?FuseAction=Abroad.Home ONTARIO CANADA TORQ PERCUSSION SEMINAR July20–27,2014 Faculty:TorQPercussionQuartet(RichardBurrows,AdamCampbell,JamieDrake,DanielMorphy) Guest Faculty: NebojsaJovanZivković Course of Study: TheTorQPercus-sionSeminarisaweek-longinten-sivestudyperiodforuniversity- levelpercussionistswhoshareapassionforandcommitmenttocontemporarypercussion.Nowinitsthirdyear,TPShasestablisheditselfasaleadingforumforper-cussionistsfromacrossthecoun-tryandbeyondtolearn,experiment,dissect,expandandredefinetheircraftundertheguidanceofallfourmembersoftheTorQPercussionQuartet.Itisanopportunitytofindyourvoiceandjoinotherplayerslookingtofosteracultureandcommunityofpercussion.Thisyear’sTPS2014willbehostedinbeautifulStrat-ford,Ontario(Canada)inconjunc-tionwithTorQPercussionQuartet’sresidencyatStratfordSummerMusic.Overthecourseofanactionpackedweek,partici-pantswillreceiveone-on-onein-structionfromfaculty,participateindailymasterclassesandclinics,contributetoround-tablediscus-sionsandtakepartinintensiveen-semblerehearsals,performancesandmore.OurTPS2014guestfac-ultyNebojsaJovanZivković(Ger-many-basedmulti-percussionist

andcomposerextraordinaire)willbepresentingmasterclasses,per-formancesandcoachingstudentsonhiscompositions.Otherhigh-lightsofTPS2014includesolopublicperformanceopportunitiesforparticipants(inpartnershipwithSSM),facultyandparticipantshowcaseconcerts(featuringtheworksofZivkovićandnewworkscommissionedfortheseminar)andtheCanadianpremiereofthe99-percussionistversionofJohnLutherAdams’“Inuksuit.”Partialscholarshipsareavailable,thankstothegeneroussupportofYama-haCanada. Contact: Formoredetailsandan-swerstoquestionsaboutsched-ule,fees,accommodations,applicationprocessandmorepleasevisit:torqpercussion.ca/tps QUEBEC, CANADA FOURTH ANNUAL SUMMER TABLA WORKSHOP WITH SHAWN MATIVETSKY June30–July6,2014 HostedbytheSchulichSchoolofMusicofMcGillUniversity,Mon-treal Course of Study: Duringthisinten-sivehands-onworkshop,partici-pantswilllearntablainthetraditionoftheBenares(Varanasi)gharana.Theworkshopisopentoalllevels(beginner,intermediate,advanced).Thescheduleincludesdailygrouppracticesessions,groupclasses,andtwolistening/repertoiresessions.Studentswillliveandbreathetablaforthedu-rationoftheworkshop! Tuition:$250andisduebyJune1.Studentsmustprovidetheirown

tabla.Ifyoudon’talreadyownaset,pleasecontactShawn,andhewillbehappytoassistyou.Forthosetravellingfromoutoftown,affordablelodgingisavailableattheMcGillResidences,conve-nientlylocatednextdoortotheSchulichSchoolofMusic. Contact:ShawnMativetsky,Email:shawn.mativetsky@mcgill.ca Web:www.shawnmativetsky.com ILLINOIS CHICAGO TUPAN WORKSHOP August4—8,2014 MTWTF10a.m.–5p.m. HostedbytheNorthfieldSchoolofMusic,Chicago’sBeautifulNorthShore Course of Study: LearnhowtoplayTupanandasymmetricalrhythmsfromsomeonewhogrewupinEasternEuropean&BalkanFolktraditions.Openyourhorizonasapercussionist,drummerandmusicianbylearninguniqueBul-garianrhythmssuchas7/8,25/8,even33/8!Concert,Fridayat7:30p.m.Allinstruments&materialsprovided.NoAuditionrequire-ments,mustbe13orolder. Instructor:Dr.GeorgeTantchev Guest Musicians: DistinguishedguestfolkmusiciansfromtheChi-cagoarea Tuition:$500active,$250passive,$75dailyobserver.Housing:At-tendeesareresponsibleforsecur-ingtheirownhousing. Deadline: June15foractivepar-ticipants Contact: Formoreinformationandhowtoapply:info@north-fieldschoolofmusicorcall847-212-3623

APRIL 2014 44 RHYTHM! SCENE

INDIANA INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC SUMMER PERCUSSION ACADEMY AND WORKSHOP July20–26,2014 Course of Study: IndianaUniversi-ty’sJacobsSchoolofMusicisoneofthemostcomprehensiveandacclaimedinstitutionsforthestudyofmusicandplaysakeyroleineducatingperformers,scholars,andmusiceducatorswhoinflu-encemusicperformanceandedu-cationaroundtheglobe.The2014summerpercussionacademyandworkshopisanintensive6-dayeventfortalentedpercussionists.Applicantsingrades7–12arein-vitedtoapplyforthePre-CollegeSession(Academy).Applicantsover18yearsofageareinvitedtoapplyfortheAdultSession(Work-shop),withbothofferingsrunningconcurrently.Masterclasses,clin-ics,andperformanceswillbepre-sentedbyinternationallyrenownedperformers.Sessionswillinclude:auditiontechniques(forcollegeandprofessionalaudi-tions),chambermusic,sightread-ing,orchestraltimpaniandpercussion,marimba,drumset,ac-cessories,worldpercussion,ca-reerdevelopment,andmuchmore!StudentswillalsoperformintheIUSummerPercussionEn-semble,presentinga“grandfina-le”concert.On-campushousingavailable. IU Faculty: KevinBobo,SteveHoughton,MichaelSpiro,andJohnTafoya Guest Artist Faculty:JeremyBran-son,CaseyCangelosi,andRich

Redmond.Facultysubjecttochange. Tuition: $715.Oncampushousingavailable.Seeourwebsiteforde-tails. Deadline:June1,2014.Applica-tionsareavailablethroughourwebsite.AllfeesdueonJuly1,2014. Contact:JohnTafoya,Director.Tel:812-855-4839;Email:musicsp@indiana.eduorjtafoya@indiana.edu; Web:http://www.music.indi-ana.edu/precollege/summer/per-cussion MAINE NEW ENGLAND MUSIC CAMP Fullsession:June27–August11,2014 Firstsession:June27–July21,2014 Secondsession:July21–August11,2014 Course of Study: Establishedin1937,theNewEnglandMusicCampinSidney,Maine,providesmusicandrecreationprogramsfor12–18year-oldsinorchestra,band,jazzband,percussionen-semble,worldmusic,andsteelpan.Studentsstudyprivatelyandperformweeklyconcertsinthehistoric“BowlinthePines.”Finan-cialaidisavailable. Contact: http://www.nemusic-camp.com/ NEW ENGLAND PERCUSSION INSTITUTE AT SNOW POND MU-SIC FESTIVAL June7–13,2014 Sidney,Maine Course of Study: TheNewEnglandPercussionInstituteisanintensivesixdaysofadvancedstudygeared

tohigh-levelcollegestudentsandprofessionalpercussionistsonthebeautifulgroundsoftheNewEng-landMusicCampinSidney,Maine.Programparticipantswillstudywithaworld-classfacultyinanin-timateandsupportiveenviron-mentlimitedto24participants.Theweeklyscheduleincludesdailyorchestralrepertoirereadingses-sions,lessons,lectures,master-classesandrecitals.Participantscanexpecttoexploreabroadrangeoftopicsfromtoneproduc-tion,interpretation,andpercus-sionsectiontechniquestochangingandclearingtimpaniheadsandauditionpreparation.Ampletimeisscheduledforprac-ticeandotheractivities.Asanaddedbonus,participantswillhaveanopportunitytotourtheVicFirthfactoryinNewport,MaineandtheZildjianfactoryinBoston. Application Materials:Onlineap-plication,twolettersofrecom-mendation,non-refundable$75applicationfee.Audition:YouTubeormp3files:Onestandardorches-tralexcerptperformedonsnaredrum,xylophone/bells,andtimpa-ni.Participantsmustbeovertheageof18andareselectedonthebasisofabilityandsupportingma-terials.Astheapplicationprocessisonarollingbasis,weencourageyoutoapplyearly. Faculty: TedAtkatz,NeilGrover,SalvatoreRabbio,PatrickRoulet,MatthewStrauss Tuition: FullParticipantTuition:$735(Tuition)+$515(Room&Board)=$1,250.AuditorTuition(includesContinuingEducation

RHYTHM! SCENE 45 APRIL 2014

Credit):$480(Tuition)+$515(Room&Board)=$995.Continu-ingEducationandCollegeCred-it:ContinuingEducationCredit:$50UniversityofMaineatAugus-ta(UMA)Two(2)CollegeCredits:$250 Contact:GailLevinsky,SnowPondMusicFestivalProgramsCoordina-tor:Email:glevinsky@snowpond-musicfestival.com,PatrickRoulet,ArtisticDirector,NewEnglandPer-cussionInstitute:Email:nepi@snowpondmusicfestival.com.Website:http://snowpondmusic-festival.com/programs/new-eng-land-percussion-institute/ MINNESOTA MACPHAIL CENTER FOR MUSIC MacPhailCenterforMusicwillbehostingthefollowingpercussioncamps. Faculty:BobAdney,DavidBirrow,ErikBarsnessandAdamRappel.Percussion(grades6–9)Camp:$340Chanhassen,MN(June16-20,1:00–4:00) AppleValley,MN(June23–27,1:00–4:00) Minneapolis,MN(July21–25,1:00–4:00) MalletCamp(grades9–12):$200 Minneapolis,MN(July28–31,7:00–9:00) Contact:Formoreinformationcontact;BobAdney,Email:adney.robert@macphail.org;Tel:612-767-5410 NEW JERSEY LEIGH HOWARD STEVENS’ 35TH SUMMER MARIMBA SEMINAR May28–June19,2014 MALLET MASTERS FESTIVAL

June18–21,2014 Seminar Course of Study: Anin-tensiveoverviewofthemarimbawiththefirstweekconcentratingontechniqueandthesecondtwoweeksconcentratingonmusicalis-suesandrepertoire.Thecoursefocusisonmemorization,one-handedrolls,toneproduction,musicianship,repertoireandveryspecificinformationonhowtoim-proveyourtechnique.Coursealsoincludesanoverviewofallmajorgrips,anintensivestudyofSte-venstechnique[allStevensstroketypes,mechanicsofmovement,shifting,intervalchanging,one-handedrolls,historyacousticsandpracticetechniques.] Tuition: $750–$975[applyearlyandsave!]PrivatehotelroomoneblockfromthebeachinOceanGrove,NJ:$850–950. Final application deadline:May1,2014.Applyonline:www.mostly-marimba.com Festival Course of Study: Multipleconcertsandmasterclassesdailyfeaturing:EricSammut,GordonStout,MichaelBurritt,TomBurritt,Se-MiHwangandothersTBA.Fes-tivaladmissionisfreeforallSemi-narstudents.Allothersinvitedtoattendforanominaladmissionfee[$30/dayor$75/four-dayfestivalpass]Admissionincludesaccesstoallmasterclassesandconcerts.Enjoyspecialratesatnearbyho-telsandmoreattheJerseyshore. Contact: seminar@mostlymarim-ba.comorwww.mostlymarimba.comformoreinfo.

NEW YORK ARABIC MUSIC ACADEMY AT SUNY FREDONIA Fredonia,NY June16–20,2014 Course of Study: GeorgeDimitriSawaandSuzanneMeyersSawa,leadingscholarsandaward-win-ningperformersofArabicmusic,willleadthisweek-longacademyforscholars,performersandteacherswhohaveaninterestingaininghands-onexperienceandin-depthknowledgeof9thand10th centuryArabicmusicandhowitrelatestocurrentperformancepracticeandstudy.Academyrep-ertoirewillconsistofinstrumentalandvocalmusicfromthe17th-centuryOttomancourtandfrom19th-and20th-centuryCairoandAleppo;Arabicsufi,folkloricandpopularmusicaswellashistoricalrootsoftheiqa’at(Arabicrhythms)andfundamentalele-mentsofArabicmusicalaestheticsgoingbacktoal-Farabi(d.339/950).TheSawaswillengageparticipantsintheuseofframedrumswhileexploringrhythmicandmelodicmodes,improvisa-tionalandornamentaltechniques,framedrummingtechniques,per-formancepracticeandmuchmore.Participantswillbringtheirvoicesandinstrumentstoclassesforstudy,techniqueandperfor-mance. Contact:KayStonefelt,StateUni-versityofNewYorkatFredoniaSchoolofMusic,MasonHall,Fredonia,NY14063.Tel:716-673-5832;Email:stonefel@fredonia.edu;Web:Fredonia.edu/music/Ar-abic-music-academy

APRIL 2014 46 RHYTHM! SCENE

NORTH CAROLINA 2014 SUMMER MUSIC CAMP AT MARS HILL UNIVERSITY June22–27,2014 Course of Study: MusicCampisagreatlearningopportunityformiddleandhighschoolstudents.TheMarsHillUniversitySummerMusicCampaffordsstudentstheopportunitytolearnundermusicfacultyfromMarsHillUniversity,regionalpublicschools,andfromacrossthesoutheast.Thefollow-ingensemblesandclasseswillbeoffered: •HighSchoolBand •MiddleSchoolBand •HighSchoolStringEnsemble •MiddleSchoolStringEnsemble •HighSchoolJazzBand •MiddleSchoolJazzBand •BeginningMusicTheory •AdvancedMusicTheory •JazzImprovisation •Conducting •Masterclassesonallofthein-struments •DoubleReedMakingClass Deadline:Applicationforadmis-sionwillbegininFebruary1,2014,andwillendonMay31,2014. Contact: Web:mhu.edu/music-camp PENNSYLVANIA ALAN ABEL SUMMER ORCHESTRAL PERCUSSION SEMINAR June16–21,2014 EstherBoyerCollegeofMusicandDance,TempleUniversity Course of Study:Therewillbeclinicsandmasterclassesonor-chestralrepertoireforsnaredrum,bassdrum,cymbals,xylophone,

glockenspiel,vibraphone,marim-ba,tambourine,triangle,casta-nets,andotherinstruments.Somefocuswillbeonbalance,timing,tonequality,musicalcharacter,andotheraspectsofperformingwithalargeensemble.Consisten-cyandplayingthecorrectnoteswithanappropriatetechniquewillalsobestressed.Theroleofassis-tanttimpanistwillbeaddressedincludingsecondtimpanipartsandconcertiforpiano,violin,andcello.SinceBachtranscriptionsformarimbaareoftenrequiredinpercussionauditions,multipleex-ampleswillbestudied.Percussionsectionalsareorganizedtoper-formwithamplifiedorchestralre-cordingsandconductor.Repertoireforsectionalswillin-cludeworksbyRimsky-Korsakov,Ravel,Stravinsky,Kodaly,Rach-maninoff,Bernstein,Prokofiev,andothers.Full-timeparticipantswilltakeanactiveperformingroleinthemasterclassesandsection-als.Therewillbeanauditiontohelpthefacultymakepartassign-mentsforthesectionals.Atypicalday’sscheduleincludesninehoursofinstruction. Eligibility:Collegiateandprofes-sional(atleastanincomingcollegefreshman).Ifattendeeisaminor(youngerthan18)theymustpro-videaletterandwaiverfromtheirguardians. Faculty: AlanAbel,ChristopherDeviney,DonLiuzzi,AngelaZatorNelson,PhillipO’Banion,AnthonyOrlando,andShe-eWu. Tuition: Full-TimeParticipants:$500.Observingparticipants:$250

Deadline:Applicationformandauditionrepertoire(forplacementonly)areavailableatwww.temple.edu/boyer(clickonSummerWorkshops2014andthenAbelSeminar).Enrollmentislimitedto30full-timeparticipants—applica-tionsareprocessedinorderofpostmarkdate.A$100depositisrequiredatthetimeofapplica-tion.PleasemakecheckspayabletoTempleUniversityandmailde-positandcompletedapplicationformto:AlanAbelPercussionSeminar,c/oTempleMusicPrep,GirardKratz,Registrar,1515Mar-ketStreet,Suite501,Philadelphia,PA19102. Contact: Prof.PhillipO’Banion,Email:obanion@temple.edu TEXAS SAM HOUSTON PERCUSSION ACADEMY Course of Study:CoordinatedbyJohnLane,TheSamHoustonPercussionAcademyisanimmersive4-dayeventfeaturingmasterclasses,clinics,recitals,hands-onworkshops,classes,andperformancespresentedbyinternationallyrenownedpercussionistsandeducatorsinarelaxedandencouragingenvironment.TheAcademypromisesacomprehensivestudyofthepercussionist’sartthatisbothmusicallyandintellectuallystimulating,encompassinganarrayofactivitiesandinstruction.Ourfacultyrepresentsadiversecollectionofthefinestartistsatworktodayintheworldofpercussion:JohnLane,AllenOtte,RandyGloss,BonnieWhiting,

RHYTHM! SCENE 47 APRIL 2014

JasonBakerandMatthewHolm.TwoTracks:Applicantsingrades9–12areinvitedfortheHighSchoolTrack.Applicantsover18areinvitedtoapplyfortheCollegiateTrack.Bothofferingsrunconcurrently.TheHighSchoolTrackwillfeatureinstructiononallpercussioninstrumentsincludingsnaredrum,percussionensemble/chambermusic,worldpercussion,drumset,marimba,timpani,andallorchestralaccessories.Inadditiontotheabove,theCollegiateTrackwillofferopportunitiesforthefurtherdevelopmentofcontemporaryrepertoire,chambermusic,andintensivestudiesinpercussionhistoryandliterature;workshopsoncreativity,practice,andcareerdevelopment;andmovementformusicians(TaiChiandEurhythmics). Tuition: HighSchoolTrack(Grades9–12):$310forResidentAttendees;$165forCommuters.Collegiate/ProfessionalTrack(Adultsover18):$500forResident;$250forCommuters/Observers(non-participant).Con-tact: Dr.JohnLane,DirectorofPercussionStudies,SamHoustonStateUniversity,Email:jwl002@shsu.edu;Tel:936-294-3593;Web:www.percussionacademy.weebly.com UNT KEYBOARD PERCUSSION SYMPOSIUM June15–20,2014 Course of Study:FormallytheUNTMarimbaWorkshop,theUNTKeyboardPercussionSymposiumisaweek-longeventdesignedto

servehighschool,collegeandprofessionallevelkeyboardpercussionists,withage-specifictracksandtopics.Activitiesincludeprivateandgrouplessonswithworldclassinstructors,masterclasses,clinics,studentandfacultyperformances,andtechniquelabsfocusedonallaspectsofkeyboardpercussionperformance.Seminarsandclinicswillcoverawiderangeoftopicsincludinggripmethods(Traditional,Stevens,BurtonandSix-Mallets),repertoire(American,Japanese,European,BachandVibraphone),DCI/WGIfrontensembles,extendedperformancetechniques,andmuchmore.HighschoolparticipantswillalsoplayinkeyboardpercussionensemblesdirectedbySymposiumfaculty.Facultyincludes:ChristopherDeane(UNTCollegeofMusic-Symposiumco-director),Dr.BrianZator(TexasA&MUniversity-Commerce-Symposiumco-director),KatarzynaMycka(Poland/Germany),She-eWu(NorthwesternUniversity),andSandiRennick(SantaClaraVanguard).Formoreinformation,registrationforms,andatentativeschedule,visitthewebsiteathttp://music.unt.edu/percussion/extras Deadline: May19,2014 Tuition: $690.00:Resident,in-cludestuition,meals,androom.$515.00:Commuter,includestu-ition.Fordetails,contactSympo-siumcoordinators. Contact: ChristopherDeane,Sym-posiumco-director:940-565-3714,

christopher.deane@unt.edu.BrianZator,Symposiumco-director:903-886-5299,Brian.Zator@tamuc.edu.Forregistrationinfor-mationcontactMaryLaw940-565-4124,mary.law@unt.edu VERMONT The Stuart Saunders Smith Coaching Intensive July14–18,2014 Course of Study:TheStuartSaundersSmithCoachingIntensiveallowsperformersatanylevelofpreparationanunusualopportunitytobecoachedbythecomposerinasmallgroupsetting.Anylevelofpreparation,includinghowtogetstarted,iswelcome.This5-dayintensivewillincludeindividualandgroupcoachingonanypiececomposedbyStuartSaundersSmith.Alongwiththecoachingofspecificpieces,therewillbegroupcoursesthatcomplementtherepertory,includingrhythmictraining,notationalissuesandinterpretation,esthetics,composition,andintenselisteningexperiences.Thesecourseswillbeco-taughtbyStuartSaundersSmithandSylviaSmith.Anyageiswelcome. Tuition:$375.Thefeeincludesavegetarianluncheachday.Roomandboardistheresponsibilityoftheparticipant.Wecanassistyouinfindinglow-costaccom-modationsnearbyandhelpyouwithlocaltravelarrangements.ApplybyJune1,2014.NOTE:NowthatwehavesettledinVermont,wehaverestructuredtheCoachingIntensivetobefive

APRIL 2014 48 RHYTHM! SCENE

days.WehaveaddedintothescheduleatriptoMontpelierandopportunitiesforswimmingandhikingnearby. To apply:sendaletterofintentto:StuartSaundersSmith,54LentRoad,Sharon,VT05065;Tel:802-765-4714 WISCONSIN ZELTSMAN MARIMBA FESTIVAL June29–July12,2014 Course of Study:Co-sponsoredbyLawrenceUniversityConservatoryofMusicinAppleton,Wisconsin,ZMF’14willmarkour12thfestival(and6threturntoAppleton;weloveitthere!).The14-dayintensiveworkshopwillincludeabout50marimba-centeredeventsincluding10publicconcerts:sevenfeaturingfacultyandthreefeaturingparticipants.Participantswillworkcloselywithfacultyinmasterclasses,privateandopen(group)lessons,andensemblerehearsals.Therewillalsobegroupdiscussionswithfaculty;presentationsondevelopingavariedcareer,themarimbainpopmusic,andmalletwrapping;andtimeavailableforprivatepracticeonmarimbasweprovide.(Tuitiondiscountsareofferedforbringingmarimbas!)Itisanticipatedthatabout50participantswillattendfromaroundtheworldwhopossessvariouslevelsofexperience.Musicalstylestoberepresentedincludeclassicalmusictorecentcompositions,jazzandpop.Thisisanexceptionalopportunitytoperformwithandmakenewfriends,broadenyourknowledge

ofmusicandrepertoire,andbestimulatedbyfreshartisticvisions! Faculty:AndersAstrand(Sweden),JeanGeoffroy(France),NanaeMimura(Japan),DaneRicheson,JackVenGeem,NancyZeltsman Associate Faculty:JonathanSinger,MikeTruesdell,JointVenturePercussionDuo:LaurentWarnier(Luxembourg)&RachelZhang(China) Showcase Artist:AlejandroRuiz(Colombia) Guest Presenter:RickMattingly Tuition:$1,460+housingontheLUcampus:single/$798;double/$532.Mealplan:$330.(Housingandmealsareoptional.)Discountsavailableforbringingamarimba,andtoreturningZMFparticipants. Eligibility: Noauditionrequired;everyoneiswelcome!Minimumageis17(or16withareferral);nomaximumage. Deadline:May1,2014 Contact:TeamZMF,Email:regis-tration@ZMF.us;Web:www.ZMF.us RS

RHYTHM! SCENE 49 APRIL 2014

APRIL 2014 50 RHYTHM! SCENE

ENSEMBLE AND RECITAL PROGRAMSPASmembersareinvitedtosubmitprogramsofpercussionensembleconcertsandsoloper-cussionrecitals.Programscanbesubmittedathttp://www.pas.org/Learn/Programs.aspx.Pleasesubmittheprogramwithintwomonthsoftheevent.

The Boston Conservatory SakiKurata,SoloistCasiUnaTrunca—GuilloEspel

PlayingLove—EnnioMorricone,Trans.Saki

Kurata

Hikoukigumo—YumiArai,arr.SakiKurata

DancesofEarthandFire—PeterKlatzow

Placetobe—Hiromi

TheGirlfromIpanema—AntonioCarlosJo-

bim,Trans.SakiKurata

Threedance—RobertAldridge

3/1/14YiDavidYang,SoloistLasEstacionesPortenas—AstorPiazzolla

SergioAssad,II.Recollection—DaiFujikura

EverybodyTalkAboutFreedom—JulieSpen-

cer

ThemefromDowntonAbbey—JohnLunn,

arr.YiDavidYang

MusicfromFinalFantasy(I.Fisherman’s

Horizon;II.BlueFields;III.Silenceand

Motion)—NobuoUematsu,arr.YiDa-

vidYang

SuperMarioBros.Medley—KojiKondo,arr.

YiDavidYang

ScenicRoute,JarsofClay—YiDavidYang

Campbellsville University, Kentucky 2/7/14CampbellsvilleUniversitySteelBandDr.ChadFloyd,directorPerformedatthe2014KentuckyMusicEducatorsAssociation ConferenceFirstImpression—ChrisTanner

PacoandDave—CarribeanJazzProject

VisibleyAbsent—AndyNarell

JumpintheLine—DeLeon,Bell,Oller,

Samuel,arr.JenniferDuerden

DancingonaWave—RayHolman

BirthdayParty—LenSharpe

3/21/13CampbellsvilleUniversity PercussionEnsembleDr.ChadFloyd,directorBurn—JosephTompkins

TigerDance—JeffreySmith

Sleep—EricWhitacre

ToBrandon—AndersAstrand

TheFirstCircle—PatMetheny,arr.Andrew

Beall

CriticalMass—MattMoore

Concordia College, Moorhead, Minn. 12/9/13ConcordiaPercussionEnsembleandMarimbaChoirDr.DavidP.Eyler,directorSakuraFantasy—TsurutaMutsuo

PreludeinEminor,Op.28,No.4—Frédéric

Chopin,Arr.ClairOmarMusser

OpeningFast—PaulSmith

Alarm!—BrianBlume

PraeludiumfromHolberg’sTime:Suite

intheOldenStyle,Op.40—Edvard

Grieg,arr.DanC.Armstrong

HungarianDanceNo.5—JohannesBrahms,

arr.GordonB.Peters

AfricanBeat—JoelSmales

ThePlainFieldsfromTiger’sBlood—

RobertMcCarthy

LaCathedraleengloutie—ClaudeDebussy,

arr.GeneFambrough

PreludetoParadise—JacobRemington

Sosso-Bala—EmmanuelSéjourné

Deception—JaredHoeft

Sleep—EricWhitacre,arr.MichaelB.Smith

TheSleigh—RichardKountz,arr.Ruth

Jeanne

WeThreeKings—JohnHenryHopkins,Jr.,

arr.DavidP.Eyler

AwayinaManger—MackWilberg,arr.Lisa

RogersandRichardGipson

SleighRide—LeroyAnderson,arr.DavidP.

Eyler

RHYTHM! SCENE 51 APRIL 2014

Conservatorium of Music Sydney, Australia 4/27/14KaylieDunstan,SoloistSeasonsforpercussionduet—ToruTake-

mitsu(associateartistperformingvia

liveInternetstreaming)

NightSongfortimpani—BradGill(world

premiere)

FertilityRites—ChristosHatzis

Hi-hatandMe—MatthewSchlomovitz

SongsI–IX—StuartSaunders-Smith

Minnesota State University, Moorhead 3/13/14MSUMPercussionEnsembleKenyonWilliams,DirectorMSUMConcertChoir,Dr.DanielMahraun,ConductorLesChoephores—DariusMilhaud

LittleMatchGirlPassion,Mvmts.15and

15—DavidLang

Pegasus—MalcolmDalglish,Arr.Kenyon

Williams

TheBells—WilliamBird,Arr.JohnRaush

ConcertoforMarimbaandChoir—Eugene

Koshinski

YonofoSuite—NeerajMehta

Ouachita Baptist University, Arizona2/27/14OuachitaWindEnsemble;CarterHarlan,marimbasloistCraigHamilton,directorConcertoforMarimbaandWindEnsem-

ble—EricEwazen,Arr.VirginiaAllen

Reinhardt University, Georgia4/8/14ReinhardtUniversityPercussionEnsembleandFriendsOliviaKiefferEnsembleLivingRoomMusic—JohnCage

TrioPerUno(Mvt.1)—NebojsaZipkovic

NagoyaMarimbas—SteveReich

ImaginaryLandscapeNo.2—JohnCage

RanchoJubilee—AndrewBeall

Intentions—EugeneNovotney

OmphaloCentricLecture—NigelWestlake

InC—TerryRiley

4/23/14StephenClark,SoloistStick—MarcMellits

EtudeforaQuietHall—ChristopherDeane

Performance3—JoJoMayer

Suomeneito—NebojsaZipkovic

RanchoJubilee—AndrewBeall

4/24/14NickMcClure,SoloistTrioPerUno(Mvt.1)—NebojsaZipkovic

IRemember—DavidSchwalenberger

ArgoruVII—AlvinSingleton

HavingNeverWrittenANoteForPercus-

sion—JamesTenney

RhythmStrip—AskellMasson

ElectricCounterpoint—SteveReich

St Joseph’s College, Gregory Terrace, Australia 8/17/13TerraceFirstXIIPercussion EnsembleGordonHughes,director120Degrees—JoshGottry

FIREforUntunedPercussionEnsemble—

GordonHughes

St. Paul’s United Methodist Church, Stevens Point, Wis.2/5/14Dr.GearyLarrick,SoloistBluesforGeary—GearyLarrick

Ray’sBlues—GearyLarrick

BlueinGreen—MilesDavis

TheEntertainer—ScottJoplin

UpJumpedSpring—FreddieHubbard

AChildIsBorn—ThadJones

GodBlesstheChild—BillieHoliday

Ain’tMisbehavin’—ThomasFatsWaller

SophisticatedLady—DukeEllington

Jordu—CliffordJordan

Misty—ErrollGarner

3/12/14Dr.GearyLarrick,SoloBluesforGeary—GearyLarrick

Ray’sBlues—GearyLarrick

HymnwithoutWords—GearyLarrick

BalladforJB—GearyLarrick

MyLydia—GearyLarrick

Jingle—SulinaLarrickZimmermann

GodBlesstheChild—BillieHoliday

BeautifulOhio—MaryEarl

HelpUsAcceptEachOther—JohnNessBeck

CarmenOhio—TraditionalSpanishHymn

EveningPrayer—EngelbertHumperdinck

AChildIsBorn—ThadJones

APRIL 2014 52 RHYTHM! SCENE

University of KentuckyFeb.2014UniversityofKentuckyPercussionGroupJamesCampbell,directorBrandonArvay,ChristopherButler,Francisco

Perez,BradDutzandChrisWabish,

guestartists

HaveYouEverSeentheGrandCanyon?—

BrianNozny

Water—AlejandroVinao

FreakedOutRows—BradDutz

3/7/14MichaelMcSweeney,SoloistPureImagination—LeslieBricusse/Anthony

Newly-Arr.AlexStopa

Omnipresent—AndyAkiho,Arr.Michael

McSweeney

BluesforGilbert—MarkGlentworth,Arr.

MichaelMcSweeney

HomagetoMax—RandeSanderbeck

ThePartingGlass—trad.Irish,Arr.Michael

McSweeney

PrimeOrdinals—JimCasella

ThreeWeeksinGhana—MarkRabuck.Arr.

MichaelMcSweeney

4/13/14UniversityofKentuckyPercussionEnsembleJamesCampbell,BrandonArvay,ChristopherButler,FranciscoPerezWater—AlejandroVinao

MusicaCasera—BaljinderSekhon

PaintingaResonantHall—ConnorShafran

University of Oklahoma 3/8/13AndrewRichardson,SoloistToccataFantasyinE-flatMinor—Raymond

Helble

ThemewithSixVariations(Theme,Var.II,

Var.IV,Var.V)—RaymondHelble

PreludeNo.8forMarimba—Raymond

Helble

GrandFantasyinCMajor—Raymond

Helble

ITALY PERCUSSION COMPETITIONThe ITALY Percussive Arts Society organizes the 12th edition of “Italy Percus-sion Competition” for Marimba, Vibraphone, Timpani, Snare Drum, Drum Set and Composition for Percussion Instruments. The Competition and Festival will be held September 23–28, 2014 in Montesilvano (Pescara), Italy.

Musicians from every country can take part to the Competition.

Application deadline: May 31, 2014.

SOLOISTSMARIMBA / VIBRAPHONE / TIMPANI / SNARE DRUM / DRUM SET

Age limits for PercussionistsCat. A (born from 1996) . Cat. B (born from 1989)

Cat. C (born from 1982)

Age limits for DrummersCat. A (born from 2000) . Cat. B (born from 1992)

Cat. C (born from 1984)

COMPOSERS: No age limit.1.Cat. A - One Percussionist (One or more percussion instruments)

2.Cat. B - DUO Percussion and piano3.Cat. C - One Percussionist and orchestra

4.Cat. D - from DUO to SEXTET of percussions only5.Cat. E - from DUO to SEXTET – percussions and other instruments

JURIESMARIMBA Emmanuel Séjourné - Pius Cheung - Eriko DaimoVIBRAPHONE David Friedman - Ruud Wiener - Urs Wiesner

TIMPANI Jean-François Lézé - Ignacio C. Martin - Casey CangelosiSNARE DRUM Casey Cangelosi - Liu Heng - Jean-François Lézé

DRUM SET ZORO - Chris Heiny - Andi BühlerCOMPOSITION E. Séjourné - C. Cangelosi - P. Cheung - R. Wiener - J.F.Lézé

Website Competition: www.italypas.itAntonio Santangelo Artistic Director - President P.A.S. Italy Chapter

italypas@hotmail.it https://www.facebook.com/ItalyPercussionCompetition

Villanova College, Australia 11/8/13VillanovaGraduationPercussionEnsemble Entrata:DuetforVibraphoneand

Marimba—KerrynJoyce

FourTriosforUntunedPercussion—

GordonHughesRS

RHYTHM! SCENE 53 APRIL 2014

CLASSIFIED ADS

2014 RHYTHM! SCENE CLASSIFIED ADVERTISING

STANDARD CLASSIFIED ADS $3perword(excluding1-and2-letterwords).$25minimum.Color:$4perword.

BOXED CLASSIFIED ADSstartat$35(includesupto10words)additionalwordsare$3each.

CONTACT E-mail:advertising@pas.org.110W.WashingtonStreet.,SuiteA,Indianapolis,IN46204

MEDIA

HaMaR PERCUSSION PUBLICATIONSVisitusat:

www.hamarpercussion.comEditor–HarryMarvin,Jr.

BRIXTON PUBLICATIONSOutstandingPercussionConcertMusic,

Gradedcatalogat:www.brixtonpublications.com/percussion-4.html

CYMBALS FOR SALE (BARELY USED, LIKE NEW)3pr-18”Zildjian‘A’ConcertStageHandCymbals.$215pr(US)

3pr–18”ZildjianSymphonicVienneseHandCymbals.$215pr(US)1–SabianTonyVerderosaVFX19”SpecialEffectRide.$175(US)

1pr–SabianTonyVerderosaVFX12”SpecialEffectDistortionHi-Hats.$200(US)1–SabianTonyVerderosaVFX14”SpecialEffectCrash.$150(US)*Pricesdonotincludeshipping.Contactatxcj7@hotmail.com

FOR SALE

APRIL 2014 54 RHYTHM! SCENE

FROM THE RHYTHM! DISCOVERY CENTER COLLECTION

LUJONThelujon,orloo-jon,isapitched,bassmetallo-phoneofAmericande-sign.Whenplayedwithtimpanioryarnmallets,theinstrumentsoundslikeametallogdrum.Havinglittleacousticalcarryingpower,thelujonismosteffectivelyusedwithsometypeofsoundenhancementorforstu-diorecording.Whenusedforrecording,theinstru-mentmaybeplayedwithmalletsmadefromrubberballsandknittingneedles.Inadditiontoitsuseintelevisionandmoviescores,theinstru-mentappearsin“Circles”byLucianoBerio.

RHYTHM! SCENE 55 APRIL 2014

FROM THE RHYTHM! DISCOVERY CENTER COLLECTION

LUJONDRUMset:

Driving the Beat of American Music

Exhibit Donors Patron

John H. Beck

Education SponsorInnovative Percussion, Inc.

Rhythm! Friend DonorsGary and Sandra France . Glenn Kotche . Michael Kenyon . John R. Beck . Lisa L. Rogers

Jeff Hartsough . Jeffrey Moore . Dan Moore

ContributorsJames B. Campbell . Steve Houghton . Gary J Olmstead . Julie Hill . Garwood Whaley, Meredith Music Publications

John Wittmann . Brian Zator . John W. Parks IV . Robert Breithaupt . Eugene Novotney . Michael Balter . Thomas Siwe

Julie and Lalo Davila . Marcelo Carlos Fernandez Sr. . Chris Hanning . Jim Rupp . Gary Cook . Rich Holly . Michael Sekelsky

Brenda Myers . Stefon Harris . Nicholas Ormrod . Sherry Rubins . Julia Gaines

In-Kind SponsorshipsAndy Mayer . Alan K. Green . Allen Gentry . Daniel Glass . Dean Bobisud . Denny Hankla . Don Cutshaw General Contracting

Drum Workshop . Excel Decorators . Garnet House Productions . Glenn Kotche . Harry Cangany . Hughies Audio Visual

Jeff Ocheltree . Jim Rupp . John Aldridge . Ndugu Chancler . Paiste Cymbals . Rickel Electric, LLC.

Visual Gravvity . Chris White . Xtreme Xhibits by Skyline . Yamaha Corporation of America . Zildjian Company

New exhibit at Rhythm! Discovery Center

Donations as of March 24, 2014