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UNIVERSITY OF SASKATCHEWAN 

DEPARTMENT OF MUSIC 

PERCUSSION STUDIES 

HANDBOOK 

PERCUSSION INSTRUCTOR 

DARRELL BUECKERT

CONTENTS 

PURPOSE............................................................................................................................3 

INTRODUCTION............................................................................................................... 3 

GRADING POLICIES.........................................................................................................5 

STUDIES IN PERCUSSION.............................................................................................. 6 

ENTRANCE REQUIREMENTS............................................................................ 6 

APPLIED PERCUSSION 

MUAP 143/145............................................................................................7 

MUAP 243/245............................................................................................9 

MUAP 343/345..........................................................................................11 

MUAP 443/445..........................................................................................13 

PERCUSSION MASTER CLASS........................................................................ 15 

PERCUSSION ENSEMBLE.................................................................................16 

PRACTICE ROOMS AND KEYS.................................................................................... 17 

PERCUSSION EQUIPMENT...........................................................................................18 

PERSONAL EQUIPMENT NEEDS................................................................................. 19 

100 LEVEL............................................................................................................19 

400 LEVEL............................................................................................................20 

SUGGESTED READINGS...............................................................................................21 

LISTENING LIST............................................................................................................. 22

PURPOSE 

This Percussion Studies Handbook is intended to provide students and prospective students with 

the following information: 

1. Requirements for entrance into percussion studies at the University of Saskatchewan. 

2. An outline of the program for percussion studies and the requirements for successful 

completion of each year of the program. 

3. Policies and procedures of the University of Saskatchewan regarding percussion equipment 

and facilities. 

This Handbook should be considered a companion document to the University Calendar and the 

Department of Music Student Handbook. Policies and procedures, or changes to policies and 

procedures stated in the Calendar or Student Handbook that conflict with those stated herein are 

to be taken as authoritative. Any inquiries, regarding this document or studies in percussion at 

the U of S, should be directed to: 

Darrell Bueckert, Percussion Instructor 

Department of Music, University of Saskatchewan 

28 Campus Drive, Saskatoon, SK S7N 0X1, Canada 

Phone (306) 966-6171 or (306) 384-0667. 

INTRODUCTION 

Studies in percussion at the University of Saskatchewan are intended to provide the student with 

a comprehensive and thorough background in percussion. It is expected that each student will 

develop a high level of proficiency in all areas of percussion performance and a strong 

foundation in educational concepts and strategies. The curriculum reflects this commitment to 

the development of a well-rounded percussionist. 

Opportunities at the University provide for experience in performance of solo and ensemble 

literature of a wide variety of styles and areas of percussion. Solo recitals are a requirement of 

all degree programs in 2nd, 3rd and 4th year. As well, a variety of ensembles perform regularly 

throughout the year. There often exist additional opportunities for students to gain experience in 

percussion education through clinics and workshops that may occur on or off campus. Students 

are advised to take advantage of such opportunities.

Through academic study, musical preparation and involvement in a variety of performance 

settings, the student should, over the course of the program, develop a high level of: 

a/ responsibility as reflected in regular attendance at all lessons, classes and rehearsals, and by 

conscientious preparation of all literature, both solo and ensemble. 

b/ professionalism including a mature attitude toward all musical styles, a commitment to the 

maintenance and care of the instruments, and a respect for the position of the conductor and 

fellow musicians. 

c/ musical sensitivity to form, style, phrasing, and rhythmic, melodic, and harmonic structures. 

d/ technical skill as demonstrated by performance of selected studies, solo and ensemble 

literature. This should include observation and demonstration of dynamic control, articulation, 

rhythmic accuracy, accuracy in pitch, and technical finesse. 

e/ organizational skill including the ability to prepare and assign ensemble parts and the ability to 

design and implement instrument set-ups for solo and ensemble performance. 

f/ ability to read at sight. 

g/ aural skills including rhythmic, melodic, and harmonic relationships 

h/ understandings with regards to: 

1/ the instruments, their history, construction, mechanical functions, technical and 

musical possibilities, and concepts of tone production. 

2/ historical and stylistic aspects of the literature. 

3/ educational principles and methods.

GRADING POLICIES 

Grades for Applied Percussion are determined as a combination of the Jury/Recital mark and the 

instructor's grade, as outlined in the Department of Music Student Handbook. The instructor's 

grade will be determined by (1) regular attendance at Applied Percussion lessons, Master Classes 

and Ensembles - 20%; (2) consistency and growth - 50%; (3) technical progress - 30%. 

Assignments 

It is expected that students will come to lessons prepared, having completed all assignments to a 

satisfactory level. The assignment for each lesson will be recorded on an Applied Percussion 

Record form which will be kept in the instructor's file. Students are welcome to view the file at 

their convenience. 

Log Books 

Students are encouraged to keep a personal log of their assignments in a ringed steno pad. For 

each assignment, students should set down a plan for successfully completing it, indicating what 

is required each day to meet their goal. The log should also contain personal critiques on pieces 

being worked on, instrument set-ups, information about works and composers researched, and a 

record of the time and nature of work done in the practice room. In this way students will 

become more actively involved in their own development and more responsible for their own 

success.

STUDIES IN PERCUSSION 

ENTRANCE REQUIREMENTS 

Students may be admitted into the Department of Music as a percussion major by audition before 

a jury comprised of members of the music faculty. The candidate must demonstrate proficiency 

in at least one of the following areas of performance and a level of basic performance skills in at 

least one other area. The ability to perform well in several or all of the areas listed is very 

desirable. 

KEYBOARD - Demonstrate (1) a basic understanding and ability to play major and minor 

scales and arpeggios; (2) musical and technical command of intermediate level solo literature 

such as found in Modern School for Xylophone (Goldenberg), The Solo Marimbist vol. 1 & 2 

(Pimentel/Moore), Masterpieces for Marimba (McMillan); (3) functional ability with at least 

one multiple mallet grip. 

TIMPANI - Demonstrate (1) good command of the mechanical functions of the timpani; (2) a 

good understanding of intervals and scales and the ability to hear, sing and tune them on the 

timpani; (3) performance of intermediate level solo literature such as found in The Solo 

Timpanist (Firth), Modern Method for Tympani (Goodman), Musical Studies for the 

Intermediate Timpanist (Whaley), Fundamental Method for Timpani (Peters). 

GENERAL PERCUSSION - Demonstrate (1) strong rudimental background (40 international 

rudiments and solos by Wilcoxon, Markovich, etc.), and/or concert style snare drum performance 

(solos by Cirone, Payson, Lepak, Goldenberg, Whaley, Delecluse, etc.); (2) good command of 

accessory instruments in concepts of tone production and technical proficiency. Be able to 

perform on bass drum, cymbals, triangle, tambourine, Latin percussion and other accessory 

percussion instruments. 

DRUM SET - Demonstrate (1) an understanding of drum set performance in a variety of 

musical styles including jazz, rock and Latin; (2) an ability to play time as well as improvise 

appropriate solos and fills for each style type; (3) A thorough knowledge of music 

fundamentals, including the ability to read a drum chart.

APPLIED PERCUSSION - 6 CREDIT COURSES 

The following provides a basic outline to the course content for each year of the program for 

private percussion study. Materials listed are only examples of typical literature for that level but 

actual material covered may vary for each student depending on individual strengths. It is 

expected that the student will develop skills in each area of percussion performance to a level 

represented by the materials listed for each of the instruments. 

MUAP 143/145 

METHODS 

Timpani 

Goodman, Modern Method for Tympani (Belwin) 

Peters, Fundamental Method for Timpani (Alfred) 

Whaley, Fundamental Studies for Timpani (Meredith) 

SOLO LITERATURE 

Beck, Alpine Slide 

Frock, Seven Solo Dances 

Goodman, Ballad For The Dance 

Goodman, Introduction & Allegro 

Peters, Primal Mood 

Philodor, March For Two Pairs of Kettledrums 

METHODS 

Keyboard Percussion 

Payson, Elementary Marimba & Xylophone Method (Payson) 

Firth, Mallet Technique (Carl Fischer) 

Pimentel, Bar Percussion Notebook vol. 1 & 2 (Permus) 

Goldenberg, Modern School for Xylophone (Chappell) 


Grover, Four Mallet Primer 

Irvin, Syncopated Waltz 

Kabalevsky/Goldenberg, Comedians Gallop 

Khachaturian/Goldenberg, Sabre Dance 

Peters, Teardrops for Marimba 

Quartier, Image

MUAP 143/145 ... continued 

Snare Drum 

METHODS 

Stone, Stick Control (George B. Stone & Son) 

Delecluse, Methode de Caisse-Claire (Alphonse Leduc) 

Goldenberg, Modern School for Snare Drum (Chappell) 

Wilcoxon, The All-American Drummer (Ludwig) 


McCormick, Solo Suite for Snare Drum 

Payson, Snare Drum Solo #1 

Schinstine, Futuristic Drum Solos 

Sewrey, Contrasts 

General Percussion 

METHODS 

Payson, Techniques of Playing Bass Drum, Cymbals and Accessories (Payson) 

Delp, Multi-Pitch Rhythm Studies for Drums (Berklee Press) 


Gaetano, Multiple Episode #1 

Kraft, Two Drums in the Shape of an Etude 

Payson, Slavic Dance 

Peters, Rondo 

Drum Set 

Appice, Realistic Rock (Carmine Appice) 

Pickering, The Drummer's Cookbook (Mel Bay) 

Chapin, Advanced Techniques for the Modern Drummer (Jim Chapin)

MUAP 243/245 

Timpani 

METHODS 

Goodman, Modern Method for Tympani (Belwin Mills) 

Firth, The Solo Timpanist (Carl Fischer) 

Whaley, Musical Studies for the Intermediate Timpanist (Meredith) 

Friese/Lepak, Friese-Lepak Timpani Method (Belwin) 


Firth, Solo Impression for Four Timpani 

Jones, Sonata 

Mancini, Suite for Timpani 

Tcherepnin, Sonatina 


METHODS 

Green, Studies and Etudes for Xylophone (Heinrichshofen) 

McMillan, Masterpieces for Marimba (Belwin) 

Moyer, Four Mallet Method for Marimba (Studio 4) 

Goldenberg, Modern School for Xylophone (Chappell) 

Bona, Rhythmical Articulation (Schirmer) 

Whaley, Four Mallet Exercises (Meredith) 


Huesgen, Trilogy 

Peters, Yellow After the Rain 

Pimental/Moore, The Solo Marimbist Vol. 2 

Pitfield, Sonata for Xylophone 

Ptaszynska, Scherzo for Xylophone and Piano 

Tanner, Sonata for Marimba


Snare Drum 

METHODS 

Delecluse, Methode de Caisse-Claire (Alphonse Leduc) 

Wilcoxon, Modern Rudimental Swing Solos (Ludwig) 

Whaley, Recital Solos for Snare Drum (Meredith) 


Benson, Three Dances 

Colgrass, Six Unaccompanied Solos for Snare Drum 

Delecluse, Douze Etudes 

McCormick, Aggressively 


METHODS 

Price, Techniques and Exercises for Playing Triangle, Tambourine and Castanets 

(Music for Percussion) 

Goldenberg, Studies in Solo Percussion (Chappell) 

Peters/Black, Cymbals: A Crash Course (Alfred) 


Becker, Lahara 

D'Angelo, Toccata for Solo Percussionist 

Kraft, French Suite 

____, Morris Dance 

Payson, Die Zwitschermaschine 

Drum Set 

Chester, The New Breed (Modern Drummer) 

Dowd, A Funky Primer (Alfred)

MUAP 343/345 

Timpani 

METHODS 

Abel, 20th Century Orchestra Studies for Timpani (Schirmer) 

Begun, Twenty-One Etudes for Timpani 

Hinger, Technique for the Virtuoso Tympanist (Jerona) 


Beck, Sonata for Timpani 

Bergamo, Four Pieces for Timpani 

Cahn, Raga #1 

Lepak, 32 Solos for Timpani 


METHODS 

Friedman, Vibraphone Technique (Berklee Press) 

Stevens, Method of Movement for Marimba (Keyboard Percussion Publications) 


Abe, Frogs 

Gibson, Wallflower, Snowbird, Carillon 

Green, selected rags 

Hovhaness, Fantasy on Japanese Woodprints 

Stout, Etudes Book 2 

____, Astral Dance


Snare Drum 

METHODS 

Albright, Contemporary Studies for the Snare Drum (Belwin) 

Payson, The Snare Drum in the Concert Hall (Payson) 

Zivkovic, Ten Etudes for Snare Drum (Studio 4) 


Adams, Variation Sans Theme 

Gauthreaux, Technica 9 

Markovich, Tornado / Stamina 


METHODS 

Denov, The Art of Cymbal Playing (Belwin) 

Udow/Watts, The Contemporary Percussionist (Meredith) 


Cahn, Nara 

Dupin, Myriads 

Kraft, English Suite 

Milhaud, Concerto for Percussion 

Tagawa, Inspirations Diabolique 

Drum Set 

Houghton, Studio & Big Band Drumming (C.L.Barnhouse) 

Latham, Advanced Funk Studies (Pustjens)

MUAP 443/445 

Timpani 

METHODS 

Hinger, Technique for the Virtuoso Tympanist (Jerona) 

Goldenberg, assorted excerpt books 


Carter, Eight Pieces for Timpani 

Helble, Three Etudes for Five Timpani 

Hinger, Solos for the Virtuoso Timpanist 

Mardingly, Sonata for Solo Timpani 

Williams, Variations for Solo Kettledrums 


METHODS 

Stevens, Method of Movement for Marimba (Keyboard Percussion Publications) 

Delecluse, Vingt Etudes pour Xylophone (Alphonse Leduc) 


Abe, Michi 

Basta, Concerto for Marimba and Piano 

Creston, Concertino for Marimba 

Deponte, Concertino for Marimba 

Green, Valse Brillante 

Kurka, Concerto for Marimba and Orchestra 

Miki, Time 

Milhaud, Concerto for Marimba and Vibraphone 

Stout, Two Mexican Dances 

Tanaka, Two Movements for Marimba


Snare Drum 

METHODS 

Cirone, Portraits in Rhythm 

Lepak, 50 Contemporary Snare Drum Etudes (Windsor Music) 

Stone, Accents and Rebounds (George B. Stone & Son) 


Gauthreaux, American Suite 

Kettle, Four Solos for Snare Drum 


METHODS 

Abel, 20th Century Orchestra Studies for Percussion (Schirmer) 


Brun, Stalks & Trees & Drops & Clouds 

Dahl, Duettino Concertante 

Feldman, The King of Denmark 

Kraft, Images 

____, Encounters 3 or 4 

Stockhausen, #9 Zyklus 

Stravinsky, Histoire du Soldat 

Xenakis, Rebonds 

Drum Set 

Malabe/Weiner, Afro-Cuban Rhythms for the Drum Set (DC) 

Garibaldi, Future Sounds (Alfred) 

Houghton/Warrington, Essential Styles (Alfred)

PERCUSSION MASTER CLASS 

Percussion majors are required to attend Percussion Master Class. The purpose of the Master 

Class is to provide a forum for (1) critical appraisals of performance by peers (2) group 

instruction on various instruments towards developing a common approach (3) sharing of 

information and ideas on a broad range of topics including instrument maintenance, repair and 

construction (4) developing an understanding of the history of percussion and its literature (5) 

development of an understanding of educational principles and practices. 

Each student will be required to perform or present a mini-seminar at least once each semester. 

Performers should be prepared to discuss technical and musical aspects of the piece they perform 

and be knowledgeable about the composer and the compositional style. Informal and/or formal 

(written) critiques of performances and presentations may be required.

PERCUSSION ENSEMBLE 

MUSAP 124/224/324/424 

Percussion Ensemble is an auditioned performing ensemble open to any university student. A 

wide variety of musical styles are explored, ranging from classical transcriptions to 

contemporary compositions for percussion ensemble, as well as music from other countries and 

cultures. The instruments used represent a wide range of traditional orchestral percussion 

instruments as well as Latin American instruments, the complete range of keyboard percussion 

and an assortment of special oddities. Members of the ensemble are encouraged to (1) develop 

reading ability and performing skills, (2) gain a greater understanding of the literature for 

percussion ensemble and the use of the percussion instruments, (3) recognize the educational 

possibilities of such an ensemble, (4) develop a high level of ensemble skills. 

While the ensemble is comprised primarily of percussion majors, other students with percussion 

background or significant musical experience may also find the ensemble enjoyable and 

worthwhile. It is expected that every percussion major will endeavour to include this ensemble 

as part of each year's program of study. 

Percussion Ensemble meets for one 2-hour rehearsal every week, at a time to be determined by 

the Music Department pending the availability of Quance Theatre. Two concerts are performed 

each year, typically one in early December and one in early April. As well the ensemble will at 

times travel to various venues in the city for performances and/or workshops. 

While the ensemble is intended to be enjoyable and have a relaxed atmosphere, it is expected 

that each member will take responsibility for coming to rehearsals well prepared and arriving in 

plenty of time to have instruments set up before rehearsal begins. Regular attendance at every 

rehearsal is expected.

PRACTICE ROOMS AND KEYS 

KEYS 

Each percussion major enrolled in the Music Department is granted practice room privileges 

upon payment of the key deposit fee. Fees and keys are handled through the music office. 

All keys must be returned at the end of each academic year or final grades will be withheld by 

the Music Department. 

Percussion Techniques students may have access to the percussion modules by borrowing a key 

from the Music Office during business hours. 

Other students requiring access must have written permission of the percussion instructor and 

approval of the Music Department. 

Any student using the percussion modules and percussion equipment is expected to comply with 

all policies. 

PERCUSSION MODULES 

Percussion modules are located in the lower level practice hall in the Education Building. 

Rooms are equipped as follows: 

Module #3 : DRUMSET 

Module #4 : VIBRAPHONE & XYLOPHONE 

Module #5 : TIMPANI 

Module #6 : MARIMBA 

Module #7 : MULTI-PERCUSSION, PIANO ACCOMPANIMENT Etc. 

Each percussion major will be allowed to sign up for reserved practice times after personal 

schedules have been set. Students are encouraged to make use of these times since competition 

for the rooms can become frustrating. Rooms that are not booked are on a first come first served 

basis. If a room is vacant ten minutes into a reserved time slot, any student may make use of that 

room. 

These rooms are intended for practice only and it is expected that students will use them 

responsibly. Instruments should be covered appropriately when finished, lights turned off, and 

the door locked. 

Food and drink are NOT allowed in the modules. 

Use the modules for practicing, not for homework or visiting. 

Personal equipment such as sticks, mallets and music are to be stored in lockers, not in 

the modules. 

Failure to comply with these policies may result in loss of key privileges.

PERCUSSION EQUIPMENT - MOVING AND STORAGE PROCEDURES 

STORAGE ROOMS AND CABINETS 

All percussion equipment is stored either in the practice modules below Quance Theatre or in the 

equipment storage room, backstage of Quance Theatre. Equipment taken from these locations to 

be used for practice or performance MUST be returned to these locations the same day, unless 

written permission for extension has been given by the percussion instructor. 

The storage room must be kept neat and orderly at all times, to facilitate efficient access to 

instruments and accessories. Learn where all the instruments belong and be consistent in 

returning them to their proper place. 

The storage cabinet must also be kept neat and orderly so that instruments and mallets are easily 

found. All felt mallets must be covered with plastic before being stored, and all triangles must 

have clips removed before returning to drawers. 

MOVING INSTRUMENTS 

All large equipment must be moved between floors of the Education Building by use of the 

elevator in the main hallway. 

Keyboard instruments should be lifted over the threshold of the module doors carefully. Some of 

the larger keyboard instruments may have to be disassembled to accommodate smaller doorways. 

Vibraphone and chime pedals should always be raised before moving the instrument to avoid 

damage. 

Timpani should NEVER be moved or lifted by the counter-hoop as this will destroy fine tuning 

and put undue strain on the instrument. Always handle by the braces or bowls. The largest of 

the timpani may need to tipped sideways and the wheels removed to accommodate smaller 

doorways. This is a job that requires at least two people and must be done VERY carefully so as 

not to touch the rim against the door jam. Avoid laying the timpani on its side to remove the 

wheels; have a third person remove them. 

Drum set bass drum pedals and mounted toms must be removed before moving the bass drum. 

NO instruments may be removed from the Education Building without written permission from 

the percussion instructor and approval of the Music Department.

PERSONAL EQUIPMENT NEEDS 

100 LEVEL 

Each percussion major must equip himself or herself with some basic equipment for use in 

private study and conducted ensembles. The following is a list of the bare minimum that will be 

required. Any percussion major that is missing one or more of these items should endeavour to 

own them by the end of the first semester. 

Students involved in percussion ensemble who are not percussion majors may be asked to 

purchase a minimum of supplies. 

Sticks and Brushes: 

1 pr. general snare drum sticks: 2B or Firth-general. 

1 pr. light weight snare drum sticks for drum set. 

1 pr. brushes. 

Keyboard mallets: 

1 pr. soft rubber 

1 pr. acrylic (hard plastic). 

2 pr. medium yarn or cord wound for vibes and marimba. 

Timpani mallets: 

1 pr. general. 

1 pr. staccato. 

1 pr. medium-heavy triangle beaters. 

1 drum key 

1 A-440 tuning fork. 

1 small tool kit including; adjustable wrench, pliers, moleskin, scissors, 

screw drivers (5-in-1 set).

400 LEVEL 

The following is a list of equipment items that would complete the basic equipment needs of the 

performing percussionist. Every percussion major should endeavour to acquire these items over 

the course of studies at U of S. Furthermore, it is expected that students will purchase items 

needed as these needs arise so that borrowing equipment from each other is not necessary. Every 

percussionist is responsible for outfitting his or her own set-up, whether they be individual or 

ensemble situations. 

Snare Drum sticks: 

1 pr. general snare drum sticks: 2B or Firth-general. 

1 pr. small-tipped snare drum sticks: Firth-Bolero. 

1 pr. light weight snare drum sticks for drum set. 

1 pr. brushes. 

Keyboard mallets: 

1 pr. each of rubber; hard and very hard 

2 pr. acrylic (hard plastic) 

1 pr. brass 

4 yarn or cord wound soft 

4 yarn or cord wound medium 

4 yarn or cord wound hard 

Timpani mallets: 

1 pr. general 

1 pr. staccato 

1 pr. ultra-staccato 

1 pr. wood ball 

Triangle beaters (purchased or home-made); 

1 pr. light 

1 pr. medium 

1 pr. heavy 

1 drum key 

1 timpani tuning key 

1 A-440 tuning fork 

1 small tool kit including; adjustable wrench, pliers, moleskin, scissors, 

screw drivers (5-in-1 set). 

Percussion majors studying at U of S are also encouraged to begin acquiring a greater variety of 

sticks and mallets as well as personal instruments including various drums, cymbals, 

tambourines, triangles, wood-blocks, and other accessories.



APPLIED PERCUSSION -- SUGGESTED READINGS 

Abel, Alan. 20th Century Orchestra Studies for Percussion. MT 662.4.T97 

Bajzek, Dieter. Percussion: An Annotated Bibliography. ML 128.P23B34 

Blades, James. Early Percussion Instruments. ML 1030.B62 

Blades, James. Histoire du Soldat. M 1520.S91H5 

Blades, James. Orchestral Percussion Technique. MT 665.B63 

Blades, James. Percussion Instruments and their History. ML 1030.B63 

Breithaupt, Robert. The Complete Percussionist. 

Brindle, Reginald Smith. Contemporary Percussion. ML 1030.B85 

Brown, Robert. The Mrdanga. ML 1035.B88N9 

Chenoweth, Vida. The Marimbas of Guatemala. 

Cirone, Anthony & Joe Sinai. The Logic of it All. 

Cook, Gary. Teaching Percussion. MT 655.C7 EDUC PROF. COLL. 

Firth, Vic. Percussion Symposium. ML 1030.F52 

Gallwey. The Inner Game of Tennis. GV 1002.9.P75G34 

Gangware, Edgar. The History and Use of Percussion Instruments in the Orchestra. ML 

1030.G19 

Holland, James. Percussion. ML 1030.H64 

Jacob, Friedrich. La Percussion. ML 1030.J3414 

Kaptain, Laurence. "The Wood That Sings:" The Marimba in Chiapas Mexico. 

Kulb, David. Percussion Crafts. 

Larrick, Geary. Annalytical & Bibliographical Writings in Percussion Music. MT 90.L34 

Locke, David. Drum Gahu! MT 655.L6 

Meza, Fernando. Percussion Discography. ML 156.4.P4M5 

Moore, James. Acoustics of Bar Percussion Instruments. ML 1030.M6 

Payson, Al & McKenzie. Music Educator's Guide to Percussion. MT 655.P34M9 

Payson, Al & McKenzie. Percussion in the School Music Program. 

Press, Arthur. Mallet Repair. ML 1031.P93M2 

Reed, H. Owen & Joel Leach. Scoring for Percussion. MT 70.R32 

Richards, Emil. World of Percussion. ML 1030.R52 

Shivas, Andrew. The Art of Timpanist and Drummer. MT 665.S5 

Sachs, Curt. The History of Musical Instruments. ML 460.S12 

Tanner, Peter. Timpani & Percussion Writing in the Works of Hector Berlioz. ML 410.B51T16 

Taylor, Henry W. The Art and Science of the Timpani. ML 1035.T23 

Vela, David. Information on the Marimba. 

Vincent, David. A Percussionists Guide to Orchestral Excerpts. ML 128.P23V5 

Percussion Anthology: A Compendium of Percussion Articles from the Instrumentalist. MT 

655.P42 

Percussive Notes. a bi-monthly publication of the Percussive Arts Society.



APPLIED PERCUSSION -- LISTENING LIST 

PERCUSSION RECORDINGS IN THE U OF S EDUCATION BUILDING 

Attica LL 6415 

The Blackearth Percussion Group LL 6059 

Canons of Blackearth LL 6060 

Changes (Nexus) LL 7191 

Digital Percussion LL 6584 

I Ching MCD 0734 

Impact ( Beverly Johnson) MCD 0232 

Light in Darkness (Evelyn Glennie) MCD 1130 

Master Drummer From Ghana LL 7961 

Music of Herbert Brun... LL 6488-6489 

Music of Nexus LL 7190 

Percussion (Milhaud, Chavez, Bartok) LL 3735 

Percussion By William Kraft LL 5568 

Prison Song LL 6945 

Selections MCD 0873 

Shadowbox MCD 0231 

Song of Quezalcoatle (Lou Harrison) LL 6061 

Suites, Percussion LL 2701 

Zyklus (Stockhausen) LL 6852 

Amadinda Percussion Group MCD 1687 

Chinese Drums and Gongs LL 7930 

Concert Percussion for Orchestra LL 3693 

Construction #2 (John Cage) LL 7304 

Drumming (Steve Reich) MCD 0959 

Ionization (Varese) MCD 1695 

Kroumata Percussion Enseble MCD 0619 

Kroumata and Manuela Wiesle MCD 0611 

Music for Pieces of Wood (Reich) MCD 1737 

Percussion (McGill Percussion Ensemble) LL 6030 

Pleiades (Xenakis, Les Percussion Strasbourg) MCD 0763 

Quartet Romantic (Henry Cowell) LL 5757 

Sonic Boom LL 7756 

Soundscape (Michael Rosen) LL 6739

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