| Summary: | The goal of this research document is to provide a flexible analysis that is directly
applicable to multiple percussion performance and will inform a performer about the nature of
decisions in specific circumstances without discouraging new explorations or interpretations.
These analyses attempt to organize music components into four groups: dynamics, timbre, note
density, and articulations and ornaments. Each of these groups can change in levels of
importance within a hierarchy for each phrase, which provides information for performance
practice. This information can theoretically reveal the most important components of a phrase,
including the most significant mistakes of composers and performers. Emphasizing certain
groups during a performance can mean the difference between a phrase enhancement and a
confusing effect. These analyses ignore complicated mathematics, complex compositional
features, metaphysics, historic performance practice, and the intentions of composers in favor of
basic repetition patterns, unexpected changes, and deductive reasoning. The multiple percussion
works selected for analysis are Cold Pressed (1990, revised 1994) by Dave Hollinden, Rebonds
(1987-1989) by Iannis Xenakis, and Bone Alphabet (1991-1992) by Brian Ferneyhough. Results
indicate that Cold Pressed utilizes a variety of complementary hierarchy types with a minor
number of discrepancies; however, this often deviates with the phrasing indicated in the score.
Rebonds utilizes a more consistent set of hierarchies without significant support from dynamics.
Bone Alphabet utilizes complex detail with clear phrases that match the analysis in a variety of
hierarchies; however, the rhythmic tension lacks the drive found in the other works. Performance
suggestions are presented for each work.
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