Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-94fs2 Total loading time: 0 Render date: 2024-11-09T06:02:14.918Z Has data issue: false hasContentIssue false

Select bibliography

Published online by Cambridge University Press:  05 February 2016

Russell Hartenberger
Affiliation:
University of Toronto
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Select bibliography

Agawu, K., African Rhythm: A Northern Ewe Perspective (Cambridge University Press, 1995).Google Scholar
Agawu, K., Representing African Music: Postcolonial Notes, Queries, Positions (New York: Routledge, 2003).Google Scholar
Altenberg, J. E., Trumpeter’s and Kettledrummer’s Art, Tarr, E. H. (trans.) (Nashville: Brass Press, 1974).Google Scholar
Arbeau, T., Orchesography, Evans, M. S. (trans.) (New York: Dover Publications, 1967 [1589]).Google Scholar
Arom, S., African Polyphony and Polyrhythm: Musical Structure and Methodology (Cambridge University Press, 1991).CrossRefGoogle Scholar
Azadehfar, M. R., Rhythmic Structure in Iranian Music, 2nd ed. (Tehran Arts University Press, 2011).Google Scholar
Bakan, M. B., Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur (University of Chicago Press, 1999).Google Scholar
Baschet, F., Les Sculptures Sonores: The Sound Sculptures of Bernard and Francois Baschet (Chelmsford: Soundworld, 1999).Google Scholar
Bebey, F., African Music: A People’s Art (Brooklyn: Lawrence Hill, 1975).Google Scholar
Beck, J. (ed.), Encyclopedia of Percussion (New York: Garland, 1995).Google Scholar
Becker, B. (ed.), “Contemporary Percussion: Performers’ Perspectives,” Contemporary Music Review, vol. 7, pt. 1 (1992).Google Scholar
Becker, B., Rudimental Arithmetic: A Drummer’s Study of Pattern and Rhythm (Asbury Park, NJ: Keyboard Percussion Publications, 2008).Google Scholar
Berliner, P., The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe (University of California Press, 1978).Google Scholar
Berliner, P., Thinking in Jazz: the Infinite Art of Improvisation (University of Chicago Press, 1994).CrossRefGoogle Scholar
Blacking, J., Music, Culture, and Experience: Selected Papers of John Blacking (University of Chicago Press, 1995).Google Scholar
Blades, J., Drum Roll: A Professional Adventure from the Circus to the Concert Hall (London: Faber and Faber, 1977).Google Scholar
Blades, J., Percussion Instruments and their History (New York: Praeger, 1970).Google Scholar
Blades, J. and Montagu, J., Early Percussion Instruments: from the Middle Ages to the Baroque (Oxford University Press, 1976).Google Scholar
Bowles, E. A., The Timpani: A History in Pictures and Documents (Stuyvesant, NY: Pendragon Press, 2002).Google Scholar
Bowles, E. A., The Timpani Supplement: More Pictures and Documents, (Hillsdale, NY: Pendragon Press, 2009).Google Scholar
Brend, M., Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop (San Francisco: Backbeat Books, 2005).Google Scholar
Brindle, R. S., Contemporary Percussion (Oxford University Press, 1970).Google Scholar
Burton, G., Learning to Listen: The Jazz Journey of Gary Burton (Boston: Berklee Press, 2013).Google Scholar
Butler, M. J., Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music (Indiana University Press, 2006).Google Scholar
Cage, J., Silence: Lectures and Writings (Wesleyan University Press, 1961).Google Scholar
Chapin, J., Advanced Techniques for the Modern Drummer Vol. 1: Coordinated Independence as Applied to Jazz and Bebop (Emeryville, CA: Alfred Music [1948] 2002).Google Scholar
Charry, E., Mande Music (University of Chicago Press, 2000).Google Scholar
Chenoweth, V., The Marimbas of Guatemala (University of Kentucky Press, 1964).Google Scholar
Chernoff, J. M., African Rhythm and African Sensibility (University of Chicago Press, 1979).Google Scholar
Clark, J., Connecticut’s Fife and Drum Tradition (Wesleyan University Press, 2011).Google Scholar
Clayton, M., Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance (Oxford University Press, 2000).Google Scholar
Cowell, H., New Musical Resources (Cambridge University Press, 1996).CrossRefGoogle Scholar
Danielsen, A. (ed.), Musical Rhythm in the Age of Digital Reproduction (Surrey: Ashgate Publishing, 2010).Google Scholar
Dean, M., Drum: A History (Toronto: Scarecrow Press, 2012).Google Scholar
Deveaux, S., The Birth of Bebop: A Social and Musical History (University of California Press, 1997).CrossRefGoogle Scholar
Erskine, P., No Beethoven: An Autobiography and Chronicle of Weather Report (Emeryville, CA: Alfred Music, 2013).Google Scholar
Eshun, K., More Brilliant Than the Sun: Adventures in Sonic Fiction (London: Quartet Books, 1999).Google Scholar
Floyd, S. A., The Power of Black Music: Interpreting Its History from Africa to the United States (Oxford University Press, 1995).Google Scholar
Gara, L. and “Baby” Dodds, W., The Baby Dodds Story (Louisiana State University Press, 1992).Google Scholar
Jr.Gates, H. L., The Signifying Monkey (Oxford University Press, 1988).Google Scholar
Hart, M. and Lieberman, F. with Sonneborn, D. A., Planet Drum: A Celebration of Percussion and Rhythm (New York: Harper, 1991).Google Scholar
Hart, M. with Stevens, J. and Lieberman, F., Drumming at the Edge of Magic: a Journey into the Spirit of Percussion (San Francisco: Harper, 1990).Google Scholar
Helmholz, H., On the Sensations of Tone (New York: Dover, 1954).Google Scholar
Hinger, F. D., Technique for the Virtuoso Timpanist (Hackensack, NJ: Jerona Music, 1975).Google Scholar
Hinger, F. D., Time & Motion: The Musical Snare Drum (New Haven: Cornucopia, 1991).Google Scholar
Holland, J., Percussion (London: Macdonald and Jane’s, 1978).Google Scholar
Holland, J., Practical Percussion: A Guide to the Instruments and their Sources (Lanham, MD: Scarecrow Press, 2005).Google Scholar
Hopkin, B., Musical Instrument Design (Tucson, AZ: Sharp Press, 1999).Google Scholar
Howard, J. H., Drums in the Americas: The History and Development of Drums in the New World from the Pre-Columbian Era to Modern Times (New York: Oak Publications, 1967).Google Scholar
Jones, A. M., Studies in African Music, 2 vols. (Oxford University Press, 1959).Google Scholar
Jones, L., Blues People (New York: Harper Perennial, 2002).Google Scholar
Kaptain, L., “The Wood that Sings”: The Marimba in Chiapas, Mexico (Everett, PA: HoneyRock, 1992).Google Scholar
Katz, M., Capturing Sound: How Technology has Changed Music (University of California Press, 2004).Google Scholar
Keil, C. and Feld, S., Music Grooves (University of Chicago Press, 1994).Google Scholar
Kippen, J., Gurudev’s Drumming Legacy: Music, Theory and Nationalism in the Mrdang aur Tabla Vadanpaddhati of Gurudev Patwardhan (Surrey: Ashgate Publishing, 2006).Google Scholar
Kippen, J., The Tabla of Lucknow: A Cultural Analysis of a Musical Tradition (Cambridge University Press, 1988).Google Scholar
Kite, R., Keiko Abe: A Virtuosic Life (Leesburg, VA: GP Percussion, 2007).Google Scholar
Kivy, P., The Fine Art of Repetition: Essays in the Philosophy of Music (Cambridge University Press, 1993).Google Scholar
Korall, B., Drummin’ Men: The Heartbeat of Jazz, the Swing Years (New York: Schirmer Books, 1990).Google Scholar
Krell, J., Kincaidiana: A Flute Player’s Notebook (Santa Clarita, CA: National Flute Assn., 1997).Google Scholar
Kubik, G., Theory of African Music, 2 vols. (University of Chicago Press, 1994).Google Scholar
Kubik, G., Africa and the Blues (University Press of Mississippi, 1999).Google Scholar
Latour, B., Reassembling the Social: An Introduction to Actor-Network Theory (Oxford University Press, 2007).Google Scholar
LeVan, R. K., “African Musical Influence in Selected Art Music Works for Percussion Ensemble, 1930–1984,” unpublished PhD thesis, University of Pittsburgh (1991).Google Scholar
Locke, D., Drum Gahu: A Systematic Method for an African Percussion Piece (Crown Point, IN: White Cliffs Media, 1987).Google Scholar
Locke, D., Drum Damba: Talking Drum Lessons (Crown Point, IN: White Cliffs Media, 1990).Google Scholar
London, J., Hearing in Time: Psychological Aspects of Musical Meter (Oxford University Press, 2012).CrossRefGoogle Scholar
Manual, P., Popular Musics of the Non-western World: An Introductory Survey (Oxford University Press, 1988).Google Scholar
Mattingly, R., The Drummer’s Time: Conversations with the Great Drummers of Jazz (Cedar Grove, NJ: Modern Drummer Publications, 1998).Google Scholar
McGraw, A. C., Radical Traditions: Reimagining Culture in Balinese Contemporary Music (Oxford University Press, 2013).CrossRefGoogle Scholar
McNeill, W. H., Keeping Together in Time: Dance and Drill in Human History (Harvard University Press, 1997).CrossRefGoogle Scholar
Miller, K., Playing Along: Digital Games, YouTube, and Virtual Performance (Oxford University Press, 2012).CrossRefGoogle Scholar
Mithen, S., The Singing Neanderthals: The Origins of Music, Language, Mind, and Body (Harvard University Press, 2006).Google Scholar
Moeller, S. A., The Moeller Book: The Art of Snare Drumming (Chicago: Ludwig Music Publishing Co., 1982).Google Scholar
Moersch, W., New Music Marimba Concerto List (Champaign, IL: New Music Marimba, 2015).Google Scholar
Monson, I., (ed.), The African Diaspora: A Musical Perspective (New York: Routledge, 2003).Google Scholar
Montagu, J., Making Early Percussion Instruments (Oxford University Press, 1976).Google Scholar
Montagu, J., Timpani and Percussion (Yale University Press, 2002).Google Scholar
Moody, R., On Celestial Music and Other Adventures in Listening (New York: Back Bay Books, 2012).Google Scholar
Moore, J. L., “Acoustics of Bar Percussion Instruments,” unpublished PhD thesis, The Ohio State University (1970).Google Scholar
Mowitt, J., Percussion: Drumming, Beating, Striking (Duke University Press, 2002).Google Scholar
Negus, K., Music Genres and Corporate Culture (New York: Routledge, 1999).Google Scholar
Nketia, J. H. K., The Music of Africa (New York: W. W. Norton, 1974).Google Scholar
Partch, H., Genesis of a Music (New York: Da Capo, 1974).Google Scholar
Peinkofer, K. and Tannigel, F., Handbook of Percussion Instruments (London: Schott, 1976).Google Scholar
Peters, G., The Drummer Man (Wilmette, IL: Kemper-Peters, 1975).Google Scholar
Philip, R., Performing Music in the Age of Recording (Yale University Press, 2004).Google Scholar
Pond, S., Head Hunters: The Making of Jazz’s First Platinum Album (University of Michigan Press, 2005).CrossRefGoogle Scholar
Potter, K., Four Musical Minimalists (Cambridge University Press, 2000).Google Scholar
Rebuschat, P., Rohrmeier, M., Hawkins, J. A., and Cross, I. (eds.), Language and Music as Cognitive Systems (Oxford University Press, 2012).Google Scholar
Redmond, L., When the Drummers Were Women (New York: Three Rivers, 1997).Google Scholar
Reed, T., Progressive Steps to Syncopation for the Modern Drummer (Emeryville, CA: Alfred Music [1958] 1997).Google Scholar
Reich, S., Writings on Music, 1965–2000 (Oxford University Press, 2002).Google Scholar
Roberts, J. S., Black Music of Two Worlds (New York: Praeger, 1972).Google Scholar
Rossing, T. D., Science of Percussion Instruments (Singapore: World Scientific, 2005).Google Scholar
Sachs, C., The History of Musical Instruments (New York: W. W. Norton, 1940).Google Scholar
Saffle, M. (ed.), Perspectives on American Music, 1900–1950 (New York: Garland Publishing, 2000).Google Scholar
Sankaran, T., The Rhythmic Principles of South Indian Drumming (Toronto: Lalith Publishing, 1994).Google Scholar
Sankaran, T., The Art of Konnakol (Solkattu) (Toronto: Lalith Publishing, 2010).Google Scholar
Schick, S., The Percussionist’s Art: Same Bed, Different Dreams (University of Rochester Press, 2006).Google Scholar
Schweizer, S. L., Timpani Tone and the Interpretation of Baroque and Classical Music (Oxford University Press, 2010).Google Scholar
Shapiro, P., Turn the Beat Around: The Secret History of Disco (New York: Macmillan, 2006).Google Scholar
Small, C., Musicking: The Meanings of Performing and Listening (Hannover: University Press of New England, 1998).Google Scholar
Smith, G. D., I Drum, Therefore I Am: Being and Becoming a Drummer (Surrey: Ashgate Publishing, 2013).Google Scholar
Stone, G. L., Stick Control for the Snare Drummer (Boston: G. B. Stone, 1935).Google Scholar
Storch, L., Marcel Tabuteau: How Do You Expect to Play the Oboe If You Can’t Peel a Mushroom? (Indiana University Press, 2008).Google Scholar
Sumarsam, , Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995).Google Scholar
Swiss, T., Sloop, J., and Herman, A. (eds.), Mapping the Beat: Popular Music and Contemporary Theory (Malden, MA: Blackwell, 1998).Google Scholar
Tenzer, M., Balinese Music (Hong Kong: Periplus, 1998).Google Scholar
Tenzer, M., Gamelan Gong Kebyar (University of Chicago Press, 2000).Google Scholar
Toussaint, G. T., The Geometry of Musical Rhythm: What Makes a “Good” Rhythm Good? (Boca Raton, FL: CRC Press, 2013).Google Scholar
Wald, E., The Blues: A Very Short Introduction (Oxford University Press, 2010).CrossRefGoogle Scholar
Wallin, N. L., Merker, B. H., and Brown, S., (eds.), The Origins of Music (MIT Press, 2000).Google Scholar
Weium, F., and Boon, T. (eds.), Material Culture and Electronic Sound (Smithsonian Institution Scholarly Press, 2013).Google Scholar
Wilcken, L., The Drums of Vodou (Tempe, AZ: White Cliffs Media, 1992).Google Scholar
Williams, B. M., “The Early Percussion Music of John Cage, 1935–1943,” unpublished PhD thesis, Michigan State University (1990).Google Scholar
Williams, B. M., Learning Mbira: A Beginning (Everett, PA: HoneyRock, 2001).Google Scholar
Wyre, J., Touched by Sound: A Drummer’s Journey (Norland, ON: Buka Music, 2002).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Select bibliography
  • Edited by Russell Hartenberger, University of Toronto
  • Book: The Cambridge Companion to Percussion
  • Online publication: 05 February 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316145074.023
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Select bibliography
  • Edited by Russell Hartenberger, University of Toronto
  • Book: The Cambridge Companion to Percussion
  • Online publication: 05 February 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316145074.023
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Select bibliography
  • Edited by Russell Hartenberger, University of Toronto
  • Book: The Cambridge Companion to Percussion
  • Online publication: 05 February 2016
  • Chapter DOI: https://doi.org/10.1017/CBO9781316145074.023
Available formats
×