Genetic Music System with Synthetic Biology

This article introduces GeMS, a system for music composition informed by synthetic biology. GeMS generates music with simulations of genetic processes, such as transcription, translation, and protein folding, with which biological systems render chains of amino acids from DNA strands. The system comprises the following components: the Miranda machine, the rhythmator, and the pitch processor. The Miranda machine is an abstract Turing-machine-like processor, which manipulates a sequence of DNA symbols according to a set of programming instructions. This process generates a pool of new DNA strands, which are subsequently translated into rhythms. GeMS represents the musical equivalent of amino acids in terms of rhythms, referred to as rhythmic codons. This enables the rhythmator to convert DNA sequences into rhythmic sequences. The pitch processor generates pitches for such rhythmic sequences. It is inspired by the phenomenon of protein folding. The pitch processor considers orientation information of DNA instructions yielded by the Miranda machine in order to activate algorithms for generating pitches. A musical composition, entitled Artibiotics, for percussion ensemble and electronic instruments, is presented to demonstrate the system.

An Emerging Literature for Percussion Ensemble

In the 1920s, a number of composers prophesied through their writings and their compositions how the music of the twentieth century would sound. Alexander Tcherepnin, Dimitri Shostakovich, George Antheil, and others contributed to the concept that percussion alone could be an instrumental force. This chapter examines in detail works by the French/American composer Edgard Varèse, so-called “father of percussion ensemble music,” including an analysis of his iconic composition for thirteen percussion players, Ionisation. Works by the composers Amadeo Roldán and José Ardévol draw on the Afro-Cuban rhythms of the Caribbean to create a new music, both classical and ethnic. Their compositions, along with those of the Mexican composer Carlos Chávez, served as paradigms for the music that followed.

10. Comparative Interpretative Analysis of David Mancini’s Work Suite for Solo Drumset and Percussion Ensemble

The endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the respective groups, professors Marian Vaida and Bedo Gabor, both perfected within the percussion class of the Conservatory of Music “George Enescu” in Iasi Romania, founded and led for more than half a century by the renowned professor Florian Simion. Two totally different interpretations of David Mancini’s work - Suite for solo drums and percussion ensemble, each with a few moments of success, but also with the need to perfect many elements of technique and interpretive design.

PEMBELAJARAN ANSAMBLE PERKUSI DENGAN INSTRUMENT NONKONVENSIONAL DI SD HARAPAN KITA KLATEN

Pendidikan mempunyai peranan yang sangat menentukan bagi perkembangan dan perwujudtan diri individu, terutama bagi pembangunan bangsa dan negara. Kemajuan suatu peradaban bergantung kepada cara kebudayaan tersebut mengenali, menghargai dan memanfaatkan sumber daya manusia dan hal ini berkaitan erat dengan kualitas pendidikan yang diberikan kepada anggota masyarakatnya yaitu peserta didik.Penelitian ini membahas tentang proses pembelajaran ensambel perkusi dengan instrumen nonkonvensional di SD Alam Harapan Kita Klaten. Metode yang digunakan dalam penelitian ini adalah metode penelitian analisis kualitatif dengan menyertakan teknik-teknik penelitian antara lain: Studi pustaka, observasi, wawancara, dan dokumentasi. Penelitian dilakukan dengan cara memperhatikan proses pembelajaran dalam beberapa kali pertemuan. Peneliti mengamati proses siswa dalam menerima materi dan cara guru mengajarkannya materi pembelajaran, cara pengajar dalam memberikan materi, dan sikap siswa/i pada saat proses pembelajaran. Manfaat dari penelitian ini adalah sebagai salah satu upaya dalam pengembangan ilmu pengetahuan di bidang Pendidikan Musik terutama pada pembelajaran anak agar berfikir kreatif dan inovatif. Hasil penelitian menunjukkan bahwa rata-rata siswa/i ensambel perkusi dengan instrumen nonkonvensional di SD Alam Harapan Kita Klaten lebih menyukai materi yang disampaikan dengan permainan dan keceriaan. Selain itu, dapat disimpulkan bahwa materi ensambel yang berhubungan dengan teknik sering kali membosankan bagi siswa/i jika tidak dikemas menjadi lebih menarik,asik dan dengan materi lagu. Education has a decisive role for the development and realization of individual self, especially for the development of the nation and state. The progress of a civilization depends on the way the culture recognizes, respects and utilizes human resources and matters that are closely related to the quality of education provided by society, namely students. This study discusses how the percussion ensemble learning process uses non-conventional instruments in SD Harapan Kita Klaten Elementary School. The method used in this study is a qualitative analysis research method by including research techniques including : Literature study, observation, interview and documentation. This research was conducted using observing the learning process in several meetings. The researcher observes the process of students in receiving learning material and the way the teacher teaches it and student attitudes in the learning process. The benefits of this research are as an effort in the development of education in the fields of music and creativity. The results of this study indicate that the average student likes the delivery of material accompanied by games and competitions.in addition, ensemble materials related to technique often bore students if they are not packaged with interesting, funny and familiar songs

Performing Rhythms of the Brazilian Bateria

Bateria (bah-teh-REE-ah) means drum set in Portuguese. In terms of Brazilian samba music, the bateria is the percussion ensemble driving the groove of the whole samba band. Organizing a batucada (bah-tooKAH-dah), a Brazilian percussion jam session, is possible in general music classes throughout elementary and secondary school. The necessary instruments are easily available through percussion and educator websites. In addition, quality online tutorials are easily accessible.

ANSAMBLE PERKUSI (KOMPOSISI MUSIK SMK NEGERI 3 PADANG)

This work aims to display the creativity of female students in school, and it can be a reference for teachers in developing talents, interests and creativities of female students. The form of this artwork is percussion ensemble, the author will combine the rhythmic patterns of single stroke, double stokes, and triols in 4/4 hours with a simple form. It does not only focus on the instrument itself, the author will also combine with vowels to build atmosphere. Percussion ensemble is a musical composition that is adopted from the game of similar percussion instrument, such execution is very interesting because there is no melody instrument here. the incorporation of the rhythmic pattern of single stroke percussion instrument, dooble stokes, and triols can show a rhythm by exploring it into the percussion instruments used. Percussion ensemble is played by six players that consist of two tambua players, one snare drum player, one floor drum player, one cymbal and cowbell player, one bongo player and one of triangel player. Keywords: Ansamble Perkusi

American preservice elementary teachers’ self-reported learning outcomes from participating in Korean percussion lessons in a music-methods course

The purpose of this study was to examine American preservice classroom teachers’ self-reported learning outcomes after partaking in a weekly Korean percussion ensemble in an elementary music-methods course. The preservice classroom teachers rehearsed a Korean percussion ensemble piece ( Samulnori) as their course routine for half of the semester. Participants’ open-ended essays and semi-structured interviews were analyzed to determine their learning outcomes. Based on Abril’s (2006) three world music learning outcome categories (musical, cultural, and other) as initial codes, the emergent coding process was adopted. Through the data analysis, four themes emerged that illustrated preservice classroom teachers’ learning outcomes: (a) Cultural Awareness: Difference, (b) Music Fundamentals: Overlap with Traditional Course Content, (c) Bonding Experience: Community, and (d) Teacher Education: A Well-Rounded Teacher. Based on the results, possible implications for teaching culturally diverse musics to preservice classroom teachers in music-methods courses were discussed.

Instructional Approaches to Teaching a Korean Percussion Ensemble (Samulnori) to Preservice Music Teachers and Preservice Classroom Teachers: An Action Research Study

The purpose of this practical action research study was to explore how preservice music teachers, preservice classroom teachers, and a methods course instructor responded to the experience of rehearsing a Korean percussion ensemble piece. Seven preservice music teachers and nine preservice classroom teachers rehearsed Samulnori for 20 minutes per week for 8 weeks. Data sources included reflective narratives produced by the instructor and participants, observation field notes, and participant interviews. Through each step in the action research process, across multiple cycles of instruction and reflection, the teaching approach was altered to better fit participants’ needs and interests in the two groups. While preservice music teachers valued authentic music demonstrations and the hands-on process of learning to perform Samulnori in a polished and accurate manner, preservice classroom teachers required more detailed verbal explanations in addition to music demonstrations and showed interest in learning about the historical and cultural background of Samulnori.