Matching Items (18)
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Description
Instrument design is intrinsic to multiple percussion solo performance preparation, from formulating a physical layout of instruments that best suit each work's technical requirements to fabricating unique instruments to fulfill each composer's sonic specifications. Several works in the multiple percussion repertoire require setups comprised partly or entirely of performer-built instruments.

Instrument design is intrinsic to multiple percussion solo performance preparation, from formulating a physical layout of instruments that best suit each work's technical requirements to fabricating unique instruments to fulfill each composer's sonic specifications. Several works in the multiple percussion repertoire require setups comprised partly or entirely of performer-built instruments. Given that performers have varying degrees of expertise with instrument design and construction, the specialized instruments created do not necessarily meet the level of care with which many of the masterworks in the percussion field were created. Even with the many articles, books, and other publications regarding the instrument design issues of specific works, solo percussion literature is so varied that many set-ups are created using a set of nebulous guidelines. Developing solutions to the problems inherent in multiple percussion instrument design is clearly a continuing effort. Instrument and setup design within selected works for solo multiple percussion is the focus of this document and will be addressed through specific examples from literature commonly performed on concert stages and educational institutions. The scope of this document is limited to the widely applicable design issues of three pieces: Maki Ishii's Thirteen Drums: for Percussion Solo, Op. 66 (1985), David Lang's The Anvil The Chorus: for Percussion Solo (1991), and Steve Reich's Music for Pieces of Wood: for claves (1973). The set-up designs for these pieces suggested by the author are largely the focus for which other material in this document is preparatory.
ContributorsColeman, Matthew (Author) / Smith, Jeffrey B. (Thesis advisor) / Sunkett, Mark (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsColeman, Matthew (Performer) / Dawson, John (Performer) / Libman, Jeff (Performer) / Nielsen, Ryan (Performer) / Chapman, John (Performer) / Parker, Jesse (Performer) / ASU Library. Music Library (Publisher)
Created2006-04-15
ContributorsClausen, Kevin (Performer) / Coleman, Matthew (Performer) / Rivera, Christina (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2010-04-17
ContributorsColeman, Matthew (Performer) / Muller, Jeremy (Performer) / Moio, Dom (Performer) / ASU Library. Music Library (Publisher)
Created2010-02-17
ContributorsKocour, Mike (Performer) / Rotaru, Catalin (Performer) / Kilian, Dwight (Performer) / Coleman, Matthew (Performer) / ASU Library. Music Library (Publisher)
Created2006-02-15
ContributorsHigh, Eric (Performer) / Novak, Gail (Pianist) (Performer) / Malloy, Jason (Performer) / Lennex, Matthew (Performer) / Hopkins, Charles (Performer) / Coleman, Matthew (Performer) / ASU Library. Music Library (Publisher)
Created2008-11-24
ContributorsColeman, Matthew (Performer) / ASU Library. Music Library (Publisher)
Created2009-04-11
Description

We present results from experiments at the Linac Coherent Light Source (LCLS) demonstrating that serial femtosecond crystallography (SFX) can be performed to high resolution (~2.5 Å) using protein microcrystals deposited on an ultra-thin silicon nitride membrane and embedded in a preservation medium at room temperature. Data can be acquired at

We present results from experiments at the Linac Coherent Light Source (LCLS) demonstrating that serial femtosecond crystallography (SFX) can be performed to high resolution (~2.5 Å) using protein microcrystals deposited on an ultra-thin silicon nitride membrane and embedded in a preservation medium at room temperature. Data can be acquired at a high acquisition rate using x-ray free electron laser sources to overcome radiation damage, while sample consumption is dramatically reduced compared to flowing jet methods. We achieved a peak data acquisition rate of 10 Hz with a hit rate of ~38%, indicating that a complete data set could be acquired in about one 12-hour LCLS shift using the setup described here, or in even less time using hardware optimized for fixed target SFX. This demonstration opens the door to ultra low sample consumption SFX using the technique of diffraction-before-destruction on proteins that exist in only small quantities and/or do not produce the copious quantities of microcrystals required for flowing jet methods.

ContributorsHunter, Mark S. (Author) / Segelke, Brent (Author) / Messerschmidt, Marc (Author) / Williams, Garth J. (Author) / Zatsepin, Nadia (Author) / Barty, Anton (Author) / Benner, W. Henry (Author) / Carlson, David B. (Author) / Coleman, Matthew (Author) / Graf, Alexander (Author) / Hau-Riege, Stefan P. (Author) / Pardini, Tommaso (Author) / Seibert, M. Marvin (Author) / Evans, James (Author) / Boutet, Sebastien (Author) / Frank, Matthias (Author) / College of Liberal Arts and Sciences (Contributor)
Created2014-08-12
ContributorsColeman, Matthew (Performer) / Chapman, John (Performer) / Gory, Seth (Performer) / Johnston, Ken (Performer) / Libman, Jeff (Performer) / Martino, Todd (Performer) / Sims, John (Performer) / ASU Library. Music Library (Publisher)
Created2007-04-14
ContributorsColeman, Matthew (Performer) / Chapman, John (Performer) / Libman, Jeff (Performer) / Luke, Nadine (Performer) / ASU Library. Music Library (Publisher)
Created2008-03-21