This dissertation traces the development of my practice as a percussionist through my undergraduate and graduate degrees. Chapter 1, A Single Stroke Engine, details the physicality of a single stroke in a narrative format. This opening chapter situates percussion performance as a physical act, intimately connected to the body. This chapter also serves as a metaphor for percussion playing as gestural, a view that is challenged in the proceeding chapters. Chapter 2, The Dystonic Hand, is an account of my personal experience with a highly competitive collegiate percussion studio and the discovery of a debilitating neurological disorder affecting my left hand called focal dystonia (FD). This chapter places the idea of the physicality of percussion into sharp relief as I recount my search for a diagnosis, the loss of physical control I experienced, and the various exercises I sought out in an attempt to 're-train' my brain and hand to play percussion with focal dystonia. My efforts to both cope with and discover a music located beyond 'handedness' in percussion performance is the focus of chapter 3, Connections. Here I introduce the fields of experimental music and improvisation, specifically my initial encounter with the music of composer Michael Pisaro, and detail their influence on my efforts to locate a non-virtuosic/skilled alternative to contemporary percussion performance practice. My attempts to function as a percussionist with focal dystonia in the 'handed' realms of Brian Ferneyhough's Bone Alphabet (1991) and Iannis Xenakis' Psappha (1975) are also detailed. The final chapter of this document, Toward Non-Instrumentality, explores the concept of 'non-instrumentality' through the lens of Michael Pisaro's Ricefall (2004). This chapter engages the philosophy of Alain Badiou in order to explicate aspects of non-instrumentality and to imagine its possibilities beyond the world of percussion. Finally, this dissertation concludes with a series of texts detailing my close collaboration with Michael Pisaro and a brief epilogue speculating on the future of an alternative percussive practice.
|Advisor:||Schick, Steven, Steiger, Rand|
|Commitee:||Armantrout, Rae, Borgo, David|
|School:||University of California, San Diego|
|School Location:||United States -- California|
|Source:||DAI-A 70/05, Dissertation Abstracts International|
|Keywords:||Badiou, Alain, Experimental music, Percussion, Pisaro, Michael|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be