A unique event connection percussionists from across the country to build connections between percussion performance and research
Although traditional music curricula offer ample training in music performance, research skills receive comparatively little coverage. Whereas focusing solely on performance was adequate in the past, tomorrow’s musicians also need the ability to explore pressing questions pertinent to their musical interests. This effort will advance ongoing efforts towards building a nationwide network of percussion educators. Sharing new developments in both research-creation (new works for percussion, different approaches to performance) and percussion-focused research (i.e.,examining percussionists eye movements, analyzing percussion acoustics) will help build community between percussionists across Canada. By exploring the “space between” these typically siloed efforts, students and faculty alike will make new connections and begin to benefit from a wider range of perspectives and expertise.
Deadlines for a call for proposals (CfP) for percussion research poster presentation, registration information, etc. will be posted to this page. We will also be making use of a Facebook event for rapid communication, so please indicate interest there to stay in touch as details unfold! We will soon be issuing a Call for Proposals soliciting poster presentations for any research on percussion.
McMaster University (April 29th-30th, 2022).
Funded by a SSHRC Connections grant, with additional support from McMaster University, Sixtrum, CIRMMT, and the Ontario Percussive Arts Society
|Michael Schutz||Hosts Michael Schutz and Fabrice Marandola both pursued non-traditional educational paths. After completing undergraduate and graduate degrees in percussion performance, each pursued doctoral work an academic speciality offering new perspectives: Psychology (Schutz) and Ethnomusicology (Marandola). Reflecting on how this research training has enhanced their artistic practice during the Day of Percussion festival in Ottawa (2020), they began brainstorming on how to forge new connections between percussion research and performance. Inspired by challenges with percussion education and pedagogy during the COVID-19 pandemic, they founded the Canadian Percussion Network offering new monthly content on percussion research throughout the 2020-21 academic year. Inspired by how that network brought together percussionists from across the country, they applied for a SSHRC Connections grant to support a unique, two-day workshop paired with pre-meeting synchronous video discussions. This exciting event will bring together percussionists separated by large physical distances to explore new opportunities at the intersection of performance and research.||
Wednesday March 23rd, 2022 (6pm EST): Creating music for percussion ensemble and gamelan: An insider perspective (Mark Duggan & Fabrice Marandola) View the Facebook event here!
All events are taking place at L.R. Wilson Hall on McMaster University’s main campus at 1280 Main St. W, Hamilton.
Friday, April 29th, 2022
Saturday, April 30th, 2022
|9:30am: Coffee & networking||9:30am: Coffee & networking|
10:00am Oh Canada, 2021: A new type of percussion education & expertise (Mark Adam)
|10:00am Gender and Percussion: What should we be mindful of now? (Victoria Sparks)|
|10:45am Social commentary through the creation of multi-media works for percussion
|10:45am Recognizing and managing risk factors for playing-related musculoskeletal disorders. (Nadia Azar)|
|11:30am Q&A with morning presenters||11:30am Q&A with morning presenters|
|12:00pm Lunch & networking||12:00pm Lunch & networking|
|1:15pm Lecture demonstrations (Jill Ball, Jamie Drake & Alex Fraga)||1:15pm Lecture demonstrations (Richard Moore; Stephen Solook)|
|2:30pm Creating useful percussion inventions (Darrell Bueckert)||2:00pm Poster research session|
|3:15pm Q&A with afternoon presenters||3:00pm Coffee break|
|3:45pm Coffee break||3:30pm From concert hall to research lab and back: Connecting percussion performance and research (Michael Schutz)|
|4:00pm Poster research session||4:30pm Round table discussion with all conference speakers|
|8:00pm Public concert||6:00pm Group dinner at The Phoenix|
Oh Canada, 2021: A new type of percussion education & expertise
Mark Adam will discuss how percussion education can work across the music diaspora, engaging students as listeners of people and cultures instead of as expert interpreters of particular styles. New markers of student success will be explored, encouraging a broader, more culturally responsive musician from our learning spaces. Using Powerpoint, live performance and listening examples in his presentation he will walk participants through tools to access as broad a representation of themselves in their own pedagogy as possible, thus encouraging them to teach beyond their self-defined expertise area. A new expertise will be defined around the skills of listening and connection. The goal is for us to mentor musicians who respond to multiple communities in more thoughtful ways. This workshop will also aim to expose unintended musical biases we create in our students and how we may re-engage with ourselves as pedagogues and as musicians to avoid these.
Mark Adam is an associate professor and acting director of Acadia University’s School of Music. Mark has made various contributions to the Canadian Percussion Network through consultation and video presentations during the 2020-2021 COVID-19 music response. Mark’s interests include percussion performance, pedagogy, music production, improvisation, and contemporary music. His workshop aims to introduce a percussion pedagogy practice that meets us in this very particular time when cultural educators need to adapt to changes.
Recognizing and managing risk factors for playing-related musculoskeletal disorders.
Playing-related musculoskeletal disorders (PRMDs) are very common in drummers, yet injury prevention education is often missing from drum set curricula. This presentation will provide an overview of the research on PRMDs in drummers and outline the general risk factors for developing repetitive strain injuries and how they apply to playing the drum set. Strategies for identifying and managing these risk factors will also be discussed. Participants will be invited to reflect upon and discuss their own exposures to PRMD risk factors, and how they might apply risk factor mitigation strategies within their own drumming practices.
Nadia Azar is an Associate Professor of biomechanics and ergonomics at the University of Windsor. As the founder and director of the Drummer Mechanics & Ergonomics Research (DRUMMER) Lab, Dr. Azar’s overall research goal is to do for drummers what sport science is doing for athletes: help them to achieve their peak performance while reducing their risk of injuries. She has presented this work at the Percussive Arts Society International Convention and the Performing Arts Medicine Association’s Annual Symposium, published findings in top peer-reviewed journals in the field (e.g., Medical Problems of Performing Artists, Journal of Popular Music Education), received research funding from the GRAMMY Museum, and has successfully translated this work to members of the music community at large (e.g., CBC Radio, Drum Talk TV, the DrumeoBeat, and interviews on multiple podcasts).
Creating useful percussion inventions
In this workshop/discussion, Darrell Bueckert will be presenting some of his inventions that address certain weaknesses in existing percussion instruments and equipment. Two items particularly pertinent to the orchestral performer are the construction of bell plates and Bueckert’s new design for a triangle hanger. The construction of bell plates became necessary for the performance of new orchestral work, and while resources such as The Physics of Music Instruments by Fletcher and Rossing (Springer-Verlag 1991) were helpful in understanding the acoustical theory, Bueckert will give first-hand insight into the challenges that arise when constructing the physical instrument. The new triangle hanger design solves the problems of existing triangle hangers that have prevented players from achieving optimal performance. Participants will learn how to build their own triangle hanger and Bueckert will demonstrate how this greatly improves the performance of intricate orchestral works such as Brahms Symphony No. 4 and España by Emmanuel Chabrier.
Darrell Bueckert is the Principal Timpanist with the Saskatoon Symphony Orchestra and the Percussion Instructor for the Department of Music at the University of Saskatchewan. He also served one term as Adjunct Professor to the College of Graduate Studies and Research at the University of Regina. He is a graduate of the University of Manitoba (B.A.) and the University of Saskatchewan (B.Mus. Mus. Ed. and M.Ed. in instrumental music). As an orchestral percussionist, Darrell has played for numerous internationally known conductors and artists, Broadway musicals and touring ballets, as well as local choirs and theatre groups. In addition to his orchestral work, Darrell also performs regularly with ensembles that span a very wide variety of genres.
Social commentary through the creation of multi-media works for percussion
Gina Ryan’s presentation will introduce new works she is creating for percussion exploring pressing social and cultural issues. This includes an interdisciplinary project with visual artist Liz Hassall, titled ‘Hauntology: The stain specters can leave,’ premiered recently at Earth Day Art Model Telematic Festival (Indianapolis). This explores the nature of personal and shared memories, following Jacques Derrida’s concept of “Hauntology” to reflect on the many layers of truth, the continuous cycle, and malleability of memory, and the stains specters can leave on our perceptions. Ryan will also perform her work ‘Lullaby Haze”, focusing on the increasing pollution problem in Chiang Mai caused by massive burning. Ryan is passionate about creating art to engage with social issues and will use this as a launching point to discuss complex issues of ecological change and population growth contributing to increases in pollution.
Gina Ryan is a Professor of Percussion and Music Education at the University of Quebec in Montreal (UQAM). Her research interests include music identity and relationships, creativity, and international music education and her work has been recently published in Research Studies in Music Education, Percussive Notes, Canadian Music Educator, Revue musicale OICRM, and The Instrumentalist. As a passionate advocate for new music, Dr. Ryan has commissioned, composed, and performed music for stages around the world and has appeared as a soloist and chamber musician in Canada, Japan, China, Thailand, France, and the United States. Her recent work focuses on sound exploration and music as social action. She has been the recipient of several grants and awards, including a three-year grant from the Fonds Québécois de la recherche sur la société et la culture and the Aspen Contemporary Ensemble Fellowship grant. She has recently returned to Canada after living in Thailand for a decade where she was the Honorary Professor of Percussion at Payap University, co-founder of the Chiang Mai New Music Ensemble, and the Senior School music teacher at Prem Tinsulanonda International School.
From concert hall to research lab and back: Connecting percussion performance and research
Michael Schutz’s lecture-recital uses pieces for solo percussion to demonstrate musical implications of his perception research. His team’s focus derives from practical musical questions — such as how body movements play a surprising role in shaping the musical experience. Schutz’s talk will explore this issue through the context of two projects exploring the multi-sensory nature of the musical experience. The first is a novel musical illusion in which musicians use visible gestures to change the way music “sounds.” Some expert performers capitalize on the fact that although these gestures have no acoustic consequences, they are crucial in shaping the way in which audiences perceive performances. The second explores how “moving to the beat” can actually help audiences listen more accurately, with a particular focus on the complex relationship between musical training, expertise, and musical movement. Together, these projects raise interesting philosophical questions about what music “is” and how it is best experienced.
Michael Schutz is currently an Associate Professor of Music Cognition/Percussion at McMaster University inCanada. Recently designated “University Scholar” in recognition of his work bridging music perception and performance, he directs the percussion ensemble and teaches courses on music perception and cognition. Prior to McMaster, Michael spent five years as Director of Percussion Studies at Longwood University, taught percussion at Virginia Commonwealth University, and performed frequently with the Roanoke Symphony,Opera on the James, Oratorio Society of Virginia, and the Lynchburg Symphony. Active in the promotion of new music, Michael premiered internationally renowned composer Judith Shatin’s trio Time To Burn, and subsequently recorded this piece on a release from Innova Recordings. Invited solo performances include guest appearances with the University of California, University of Virginia Percussion Ensemble, Ontario andVirginia/DC “Day of Percussion,” Project: Percussion Festival, and the Alvin Lucier Festival. Since 2013, he has served on the percussion faculty of the Penn State Honors Music Institute.
Gender and percussion: what should we be mindful of now?
The workshop will focus on an exploration of the ways that individual and group dynamics affect the creative and learning environment within the percussion studio. One of Victoria Sparks’ goals this year is to explore a unique occurrence in her studio. For the first time in her 12 years of University percussion teaching, Sparks will have a studio this fall that is comprised of 8 people, none of whom identify as male. This is unusual in the percussion world, and her aim for the year is to explore how this irregular student make-up affects the culture and thereby the creative and learning environment for my students. The presentation will be a mix of discussions of the experiences of Sparks and her students tracked over the course of this year as we discuss and reflect on this topic, and will provide room for comments and feedback for the participants to join in on the conversation. This session will provide participants with an opportunity to hear about this unique studio and its resulting experiences and will have the opportunity to share their ideas and thoughts about how these experiences are similar or differ from their own studios.
Victoria Sparks is the Percussion Instructor in the Desautels Faculty of Music at the University of Manitoba.She is an active orchestral, solo, and chamber percussionist in Winnipeg, Manitoba. She is the principal timpanist/percussionist with the Manitoba Chamber Orchestra, with whom she recently gave the virtual premiere of a brand new percussion concerto Waking the Lion (the in-person premiere is scheduled for next April), composed by renowned Canadian composer Alexina Louie. Victoria completed her bachelor’s in music and in education at the University of Manitoba and received her Masters degree in percussion performance at Butler University. With a balanced focus on performance and education, Victoria is committed to student learning, through a focus on creating a strong and supportive environment in order to allow her students to thrive independently and also to grow as a team by encouraging each other. Victoria led a panel discussion on studio culture in online environments for the CPN in the fall of 2020 and is eager to facilitate open and supportive conversations among percussion colleagues across the country in the same way that those relationships are developed within our studios.
The challenges of composing and orchestrating large-scale works for gamelan and Western percussion ensemble
This presentation involves discussion of the ongoing collaboration between the Evergreen Club Contemporary Gamelan based in Toronto and the Sixtrum percussion group based in Montreal. Participating in this round table would be Blair Mackay, artistic director of the Evergreen Club Contemporary Gamelan, Fabrice Marandola, member of Sixtrum percussion group, and Mark Duggan as a composer and performing member of Evergreen Club Gamelan. The two ensembles are currently working on a project to present a series of new compositions for gamelan and Western percussion at a pair of concerts in Montreal and Toronto, slated for November 2021. As Duggan will be composing one of the pieces on that program, a piece inspired by Canadian composer Alain Thibault’s “L’angoisse des Machines” which has been an important part of Evergreen Club’s core repertoire for over 30 years, it seems to be a good opportunity to discuss the peculiarities and idiosyncrasies of composing and performing on gamelan alone or combined with western percussion instruments.
Canadian percussionist Mark Duggan is a versatile performer and composer active in multiple musical genres. He has performed with the Philip Glass Ensemble, Pierre Boulez and Ensemble Intercontemporain de Paris, the percussion group Nexus, and is a regular performer with the Toronto Symphony, National Ballet of Canada Orchestra, and the Esprit Orchestra. Duggan is a founding member of Evergreen Club Contemporary Gamelan(since 1983), which has performed throughout Europe, Asia, and the US. Duggan has composed music forNexus, TorQ percussion group, Taktus duo, Esprit Orchestra, Evergreen Club Contemporary Gamelan, Madawaska String Quartet, and choreographers Susan Lee and Maxine Heppner among others. He has released six CDs of his own music, which have been twice nominated by both the Juno and East Coast Music Awards. Duggan has an MFA in percussion from the California Institute of the Arts and a DMA in performance from the University of Toronto.
Fabrice Marandola is an Associate Professor of Percussion and Contemporary Music at the Schulich School of Music of McGill University (Montreal). Previously, he was a professor of percussion at the conservatories ofAngers and Grenoble in France, a pedagogy instructor at the Conservatory of Paris, and an invited professor at the Crane School of Music (SUNY-Potsdam, NY). A founding member of Canadian percussion ensemble Sixtrum, he has an active career on the New Music scene, commissioning, performing, and recording new works for solo and chamber ensembles. Marandola holds a Ph.D. in Ethnomusicology from Paris IV-Sorbonne and has conducted in-depth field research in Cameroon. He became the Director of the Centre for Interdisciplinary Research in Music Media and Technology of Montreal (CIRMMT) in 2020. In 2015-16, Marandola was Senior Research Chair at Sorbonne-Universités to lead a multidisciplinary research project on Musical Gesture(Geste-Acoustique-Musique).