Publications
Sound-producing movements in percussion performance require a high degree of fine motor control. However, there remains a relatively limited empirical understanding of how performance level abilities develop in percussion performance in general, and marimba performance specifically. To address this issue, nine percussionists performed individualised excerpts on marimba within three testing sessions spaced 29 days apart to assess early, intermediate, and late stages of motor learning. Motor learning was quantified via analyses of both the temporal control of mallet movements, and the spatial variability of upper-limb movements.
The present study investigated motor kinematics underlying performance-related movements in marimba performance. Participants played a marimba while motion capture equipment tracked movements of the torso, shoulders, elbows, wrists, and hands. Principal components analysis was applied to assess the movements during the performance related to sound production and sound preparation. Subsequent cluster analyses sought to identify coupling of limb segment movements that may best characterize performance styles present in the performance.
On Parallel Performance Practices: Some Observations on Personalizing DMIs as Percussionists
A Case Study of DMI integration into Instrumental Practice
By Timothy Roth, Aiyun Huang, and Tyler Cunningham
Digital musical instrument (DMI) design and performance is primarily practiced by those with backgrounds in music technology and human-computer interaction. Research on these topics is rarely led by performers, much less by those without backgrounds in technology. In this study, we explore DMI design and performance from the perspective of a singular community of classically-trained percussionists. We use a practiced-based methodology informed by our skillset as percussionists to study how instrumental skills and sensibilities can be incorporated into the personalization of, and performance with, DMIs. We introduced a simple and adaptable digital musical instrument, built using the Arduino Uno, that individuals (percussionists) could personalize and extend in order to improvise, compose and create music (études). Our analysis maps parallel percussion practices emerging from the resultant DMI compositions and performances by examining the functionality of each Arduino instrument through the lens of material-oriented and communication-oriented approaches to interactivity.
The composition and performance practice of the Canadian composer Brian Cherney’s music is contextualized in interviews with violist Marina Thibeault, pianist Julia Den Boer, and percussionist Paul Vaillancourt. These three musicians performed major works by Cherney in “Illuminations: Brian Cherney at 75” to celebrate the work and life of the composer. All three interviewees analyze the challenges presented by Cherney’s scores and discuss the ways they found inspiration in the interpretation of the music.
Playing Symptom Free from Musician’s Focal Dystonia An interview with Eric Phinney
After reading “Drumming with Dystonia” (Percussive Notes, vol. 55, no. 2, May 2017)—an inspiring article by Paul Buyer, who spoke about his journey with focal dystonia and how he found ways of working with his limitations, which included re-thinking his approaches and re-training himself with new tech- niques so that his hands and fingers can keep work- ing—I wanted to contribute to this discussion with a story of recovery: an interview with Eric Phinney, a founding member of Ethos Percussion Quartet and a devoted tabla practitioner whose musical life was devastated with the onset of focal dystonia in the summer of 2009.
The Cambridge Companion to Percussion
Percussion theater - The drama of performance
Percussion music is both the oldest and most recent of musical genres and exists in diverse forms throughout the world. The Cambridge Companion to Percussion by Russell Hartenberger explores percussion and rhythm from the perspectives of performers, composers, conductors, instrument builders, scholars, and cognitive scientists. Topics covered include percussion in symphony orchestras from the nineteenth century to today and the development of percussion instruments in chapters on the marimba revolution, the percussion industry, drum machines, and the effect of acoustics. Chapters also investigate drum set playing and the influences of world music on Western percussion, and outline the roles of percussionists as composers, conductors, soloists, chamber musicians, and theatrical performers. Developments in scientific research are explored in chapters on the perception of sound and the evolution of musical rhythm. This book will be a valuable resource for students, percussionists, and all those who want a deeper understanding of percussion music and rhythm.
CIRCUIT - Musiques Contemporaines
La vie qui bat: Steve Reich’s Drumming and Dance Choreography
The music of Steve Reich has been widely written about. In this article I will focus on choreographies set to live performances of Drumming (1971). Drumming is perhaps Reich’s most important early work and a culmination of his various musical explorations and compositional techniques. I have selected three choreographers: Laura Dean, creator of the first choreography set to the music of Drumming (1972); Anne Teresa De Keersmaeker, a choreographer whose works such as Drumming (1998) share Reich’s underlying principle of structures as processes; and Ginette Laurin, whose La vie qui bat (1999) was a joint production between Montreal dance company O Vertigo and the Société de musique contemporaine du Québec (smcq). As this issue celebrates smcq’s 50th anniversary, this article will center on the making and performance practice of La vie qui bat. In preparing this article, the author interviewed Russell Hartenberger (Steve Reich and Musicians), Ginette Laurin, and Walter Boudreau (Artistic Director of the smcq).
Contemporary Music Review
These interviews with Vanessa Tomlinson, Louise Devenish, and Claire Edwardes, three Australian percussionists from different cities, examine the various factors involved in shaping their individual work. The interviewees provide insights into the current contemporary percussion scene in Australia. We began by talking about their work, influences, education, and background. Then, we discuss select ground-breaking percussion developments that are important to them. This leads to discussions about cutting-edge musical activities taking place around the country. Finally, we discuss musical inclinations which are only possible because of ‘things uniquely Australian’. The questions are particularly designed to explore how geographical remoteness and isolation play a role in steering musical leanings in the country. We also discuss the topics of place and sound, intercultural music making in a multicultural society, and the influence of indigenous heritage on contemporary music. These interviews took place over Skype and via email correspondences.
PAS Ontario: Aiyun Huang @ U of T
By Beverley Johnston
"Congratulations to Professor Aiyun Huang who has been appointed head of percussion at the University of Toronto. Her appointment as Associate Professor began on July 1st, 2017. She is succeeding Dr. Russell Hartenberger who retired in 2016."
Discography
Resonances
On Resonances, Toronto-based percussionist Aiyun Huang showcases an eclectic range of musical ideas. The seven-track album is out on the Chicago label Sideband, which was founded in 2020 to present a wide spectrum of new-music records. Resonances features works by an assortment of contemporary classical composers who each offer a different atmosphere—some pieces are cold and icy, while others are warm and delicate. But every track on the album highlights Huang’s dexterity and inquisitive attitude.
— Vanessa Ague
after the end: Musicians from soundSCAPE
Listed on Best of Round Up 2019
This release, the second by musicians from soundSCAPE on New Focus, features new works written for the ensemble by composers Ricardo Zohn-Muldoon, Carlos Sanchez-Gutierrez, and Jesse Jones, all of whom have been key figures in the festival since 2014.
“It has to be said right up front: the music on After the End, which presents three new and recent vocal chamber works by the three contemporary composers Jesse Jones (b. 1978), Ricardo Zohn-Muldoon (b. 1962) and Carlos Sanchez-Gutierrez (b. 1964), is of a refined beauty.” -Daniel Barbiero, 7.29.19, Avant Music News
“No two ways about it, this is contemporary classical at it’s Sunday afternoon, arts council best. Driven by sound sculptors, call it high brow/long hair/egghead because it hits all those notes. Solid music from the next dimension for the studious.”
-Chris Spector, 6.8.19, Midwest Record
Chris Paul Harman: After JSB-RS
Drawing inspiration from Bach’s Chorales and Two Part Inventions and two of Schumann’s piano cycles, the works on this recording create fresh and unique sound worlds from a variety of percussion and keyboard instruments such as tubular bells, crotales, prepared piano, celesta and toy piano. “The five solo and chamber works collected here span a period of seven years, from 2006 to 2013, and illustrate the significance of keyboard and percussion instruments in my music throughout this period. The enigmatic reference to ‘JSB’ (Johann Sebastian Bach) and ‘RS’ (Robert Schumann) underlines the importance of pre-existent music or ‘source material’ in most of my works since the mid-1990s.”
–Chris Paul Harman
Inflorescence: Music from soundSCAPE
This recording, by three members of the faculty at the soundSCAPE Festival in Maccagno, Italy, features works commissioned by the festival in 2012 by Oberlin Conservatory faculty composer Josh Levine, alongside canonic works by Webern, Rzewski, and Aperghis.
Memory in Motion: Percussion in Surround
“Memory in Motion: Percussion in Surround” was a research project developed to examine how percussionists memorize musical actions within ensembles. As part of this research, director Aiyun Huang commissioned new works to compliment selected existing repertoire. Zihua Tan wrote Sorites to compliment Iannis Xenakis’ Persephassa and Alcides lanza wrote “mnais mnemes” to compliment his own earlier composition sensor VI". In both cases, the composers were asked to use the identical setup and notational system as that of the existing works. By sharing this common DNA, these unique compositions synergistically flow together to form an unusually powerful listening experience.
Save Percussion Theater
Georges Aperghis (b.1945)
Les guetteurs de sons (1981) 21:33
Musicians: Aiyun Huang, Diego Espinosa, Sandra Joseph
Le corps à corps (1978-79) 8:13
Musician: Aiyun Huang
Mauricio Kagel (1931-2008)
Dressur (1977) 25:29
Musicians: Ben Duinker, Eric Derr, Parker Bert
L’art bruit: solo for two (1995) 20:49
Musicians: Aiyun Huang, Diego Espinosa
Vinko Globokar (b.1934)
Toucher (1973) 9:24
Musician: Aiyun Huang
?Corporel (1985) 8:11
Musician: Aiyun Huang
BONUS TRACKS:
Javier Alvarez (b.1956)
Temazcal for maracas and tape (1984) 8:05
Musician: Aiyun Huang
Jean-Pierre Drouet (b.1935)
Variations sur un texte de Victor Hugo (1991) 25:05
Musicians: Aiyun Huang, Shawn Mativetsky, Fernando Rocha, Sandra Joseph
Toca Loca: SHED
Track listing:
Half -Remembered City
Ma'Mounia
Adventuremusic: Love Her Madly
Bring Them Home
P*p
P*P examines the fierce and fearsome taxonomy that historically has made some composers soulfully classical, and others popular. The cutting-edge of Canada’s composers write P*P-length, P*P-inspired works, the All-Stars of jazz throw their hats in the ring, and some of Canada’s most interesting indie-rockers flex their contemporary music chops. The ensemble Toca Loca has been furiously branding the cattle of the new music world, and has long been held up as the best argument against intelligent design. Its members comprise Gregory Oh and Simon Docking, pianos, and Aiyun Huang, percussion.
Xenakis Percussion Works
The first complete set of Xenakis’ percussion ensemble, percussion duos, and solo percussion works: Persephassa, Psappha, Dmaathen, Pléïades, Komboï, Kassandra, Okho, Oophaa, and Rebonds. Steven Schick, red fish blue fish.