When Is a Drummer not a Drummer? Developing Coordination, Musicianship, and Creativity through Electronic Drum Performance

Bryden Stillie
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引用次数: 2

Abstract

If asked to describe the instrument a drummer plays, most people would probably describe an acoustic drum kit, consisting of a bass drum, snare drum, tom toms, and cymbals. It is unlikely that the words “hybrid” or “electronic” would be part of the language used. The technologies related to drumming have seen significant advancement since the first electronic drum kits in the early 1980s, and these technologies have played a significant role in shaping the way music sounds today. Throughout this chapter I refer to three different types of drum kit setup; these are as follows: (1) “acoustic,” the traditional drum kit setup; (2) “electronic,” pads/triggers used to activate electronic sounds from a sound module or computer; and (3) “hybrid,” a setup containing a mixture of acoustic drums, electronic pads/triggers, and/or sample pads1 or percussion controllers (Figure 13.1).2 At the age of 14 I received two Christmas gifts that would go on to define my career in musical performance and drum kit teaching. The first was the drum kit instructional VHS tape, Bruford and the Beat (Bruford 1982). The second was a Yamaha DD-11 digital drum kit. The opening scene of the instructional video shows drummer Bill Bruford playing his hybrid drum kit, which combined a Tama acoustic drum kit and Simmons3 electronic drum kit. The sound produced from the first three pads he played (a total of fourteen notes) became the inspiration for my approach to teaching creative use of drum kit related music technology, in my current role as Senior Lecturer in Music on the BA Popular Music program at Edinburgh Napier University, Scotland. This chapter presents and examines an innovative approach to teaching drum kit related technologies through the creation of a solo electronic drum performance undertaken by my Year 3 (undergraduate) drum kit students. The project requires students to recreate a song of their choosing, using music creation software,4 and then perform 13
什么时候鼓手不是鼓手?通过电子鼓表演发展协调、音乐和创造力
如果要描述鼓手演奏的乐器,大多数人可能会描述一套原声鼓,包括低音鼓、小军鼓、大鼓和铙钹。“混合”或“电子”等词不太可能成为所使用语言的一部分。自从20世纪80年代早期第一批电子鼓套件出现以来,与打鼓相关的技术已经取得了重大进展,这些技术在塑造今天的音乐声音方面发挥了重要作用。在本章中,我提到了三种不同类型的架子鼓;这些是如下的:(1)“声学”,传统的鼓套件设置;(2)用于从声音模块或计算机激活电子声音的“电子”垫/触发器;(3)“混合”,一种包含原声鼓、电子垫/触发器和/或采样垫1或敲击控制器的混合设置(图13.1)14岁时,我收到了两份圣诞礼物,这两份礼物决定了我在音乐表演和爵士鼓教学方面的职业生涯。第一个是鼓包教学VHS磁带,布鲁福德和节拍(布鲁福德1982)。第二个是一个雅马哈DD-11数字鼓套件。教学视频的开场是鼓手比尔·布鲁福德演奏他的混合鼓包,它结合了多摩原声鼓包和西蒙斯电子鼓包。他演奏的前三个拍板(总共14个音符)发出的声音启发了我如何创造性地使用鼓包相关的音乐技术进行教学,我目前在苏格兰爱丁堡纳皮尔大学担任BA流行音乐课程的高级讲师。本章介绍并研究了一种创新的方法,通过我的三年级(本科)鼓组学生创作的独奏电子鼓表演来教授鼓组相关技术。这个项目要求学生们用音乐创作软件重新创作一首自己选择的歌曲,然后表演
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