Timpani are not often featured as solo instruments. Although there are frequent solo passages for timpani in many orchestral works, the use of timpani as solo instruments in concertos is limited. In the last thirty years, however, timpani have emerged from the symphonic repertoire to find a place as solo instruments, thanks, in part, to the work of William Kraft, a leading American contemporary composer and percussionist.

Due to Kraft's extensive exploration of the timpani's performance capabilities, the Concerto for Timpani and Orchestra presents many challenges for the performer. The research in this thesis focuses on composer and percussionist William Kraft and provides insight to the performance practices of this Concerto. This thesis provides a closer look at the Concerto —its genesis and its technical challenges—and offers a reflection of the composer who was instrumental in helping to bring the timpani from behind the orchestra to its position as a solo instrument.